TRACK | The Woolen Men – Head On The Ground

5/5 golden merles

The Woolen Men are Portland-based Oregonians who remind us that pop + punk need not be anything kitsch, that one can take some of the redeeming qualities of either and make a tremendous, infectious thing. Venerable and vacillating, the stakes are kept high, the form is relished, and it only seems intent on inflicting a moderate amount of damage.

The sirens of the synth gild everything, disintegrating it, opening the lane elegantly for when we’re cut back to bass and drum alone. And then the pronouncement: i hit a wall / but it wasn’t hard at all. It’s a convincing consultation or induction to the rumination, unadorned but substantive; blunt but never dull, a great and graceful cudgel.

Why do these two genres, pop and punk, so often combine to such supremely reprehensible results? Possibly, it’s the noxious hypocrisy of their purported intentions: one includes the implicit ideology of rebellion and the other has a cloyingly myopic fixation on the interpersonal or at-best abstraction. Not here, however. There’s a balance struck. An assembly of influences filtered through a prism of good intentions. It all comes across as earnest, a frank and alluring synthesis.

The vinyl is $10 from Woodsist.

TRACK | Wren Kitz – Hexed

5/5 golden merles

A deliberate and ravaging album of many intricacies and plenty of codas, Early Worm by Wren Kitz is a real fine set of musical numbers. Promptly following the raw and expansive “Georgie,” the gentlest entry point comes through “Hexed,” a song about crying moons and the digging of bones.

The track is considered and palpable psych-folk and rock. It describes a kind of anti-heroes journey or an escape from ones self in the service of traversing an emotional landscape. The problems are bound to proximity, figuratively or literally — I don’t know. But born of an immediacy that can be at least differed and approached later from another angle or as another person, weathering the hex or inverting the curse.

It is a glinting and extensive track and album, with much fine detailing and world building. It should be a little or a lot more celebrated. And further evidence of the good drawing to it the good, there’s cover artwork by Dylan Jones, who’s also done some for Woolen Men.

TRACK | April Magazine – AM

5/5 golden merles

The instrumental opener to What If The Ceiling Were A Kite: Vol. 1, “AM” is composed of syrup and the earthy, burnt scent of summer. It is lo-fi bedroom rock that lumbers and pivots, encompassing, warm upon the field recorded road.

The tempo, texture, and braided melody capture a piece of nostalgia in a bottle. The blurry bloom of its treading lowers your blood pressure several points, induces a not uncomfortable numbness. A bit dangerous, it’s not to be dwelt in forever. At two minutes in length it remains a nice reprieve from the earth so fallen and fraught with sadness.

There’s lots of solid twee/indie pop and instrumental/ambient gales populating the disc. A handful of the second pressing vinyl remain unclaimed.

TRACK | The Lavender Flu – Demons In The Dusk

5/5 golden merles

Experimental psych and folk rock from Oregon, The Lavender Flu’s “Demons in the Dusk” finds the lugubrious periphery of rock to be a haunting and inviting sector. And they offer great returns residing and mining this quarter comfortably immediately before collapse.

The album as a whole is consistently wailing and receding, working within its own internal logic that promptly consumes the listener. But “Demons In The Dusk” is probably the foremost hook, the crown jewel of a barb that easiest draws you in. It rewards your patience with a strange, strangled style, then an uptick of treble and trembling in the end.

As we hurtle unapologetically toward a new dark age, estranged from the storied ends, adrift and listless, it suits us well. At least the paths run parallel. Craven and composed, it saunters to the threat of annihilation, an easy going end that specifically omits a mea culpa, “The Lies that you breathe / will follow you.”

4 sides for 30 wending tracks, the double vinyl is around.

TRACK | The Funs – Don’t Let Go

5/5 golden merles

The Funs make exceptional experimental garage rock. The project is composed of two of the 321 people residing in New Douglas, Illinois, reminding you that goodness, though it is rare in overall instances, can come from anywhere and everywhere and at any time.

The minimal instrumentation is humming and ignites in the kindling of lo-fi tones. Despite some tempo and structural invention, the fuel burns out quite evenly over the track’s 4 minute runtime. Throughout the drums land spacious and torrid alongside the lead vocal until it extinguishes upon one final plea.

In its subtlety and delicate directness, particularly the way the concepts are married to their delivery, there is present a lot of empathy for the era. It is easier to dismiss or omit the devices that dominate our daily lives in anticipation of their antiquation or irrelevance. And with that, there is a temptation to also omit the accompanying alienation. It is harder and more honest to imbue them with great style that warrants attention and then proceed to process the implications. That honesty and directness is ultimately more enduring than getting lost in abstraction.

The Double LP can be got from the Manic Static webzone. Check out the new project, glow in the dark flowers. Digital is $12.

TRACK | Jack Stauber – Dead Weight

5/5 golden merles

The strength of Dead Weight lays in it hemorrhaging melody and the lack of limitations embodied in the core of its chaotic good. An endless series of synths rotate in sequence of killer calibration, all the way to its frenetic, gargled conclusion.

A perpetual no-skip on the gauntlet rotation, Jack’s sense of detailing is remarkable across mediums (See: 2020’s musical-horror short Opal). Also for more tunes check his other musical projects/collaborations with Joose and Zaki.

He’s been away for a bit as far as I can tell after Opal/HiLo, so, in either case of hibernation or another project patiently building, I am greatly looking forward to whatever medium he favors in the coming years.

TRACK | Cut Worms – Like Going Down Sideways

5/5 golden merles

One of the strongest 2-song 7″ I’ve come across, a pair of my favorites from the buildup to Alien Sunset. “Like Going Down Sideways” is delicate and dreamy alt country. It is also an expert projection of layering a demo into a fully fledged lo-fi phenomenon.

There’s a lot of wonder to the piercing polarization of the complimentary layered vocal lanes, creeping in solemnly from the treetops of hell before the chorus raises. The track also features texturally many deliberate flourishes, like a couple of the briefest xylophone or glockenspiel cameos known to man; arriving to puncture amidst the plucking and contribute just a bit more of the percussive, glinting and gleaming.

The persistent room noise in this version is lovely. This one came out perfected and doesn’t need refining. You can still buy the split from Randy Records for all of $6.50 plus shipping.

TRACK | That Ghost – Moon And The Almighty

5/5 golden merles

Previously I’ve written on Ryan Thomas Schmale melancholic and gorgeous work under Myers Rooney, I Hope It Is Only a Room. “Moon And The Almighty” is an earlier, coarser garage rock track. It was provided to a defunct compilations project made by a defunct label that was funding largely defunct DIY venues.

A marching eulogy of a track, it burns and it is glowing. The vocals and instrumentation collude in a fine mist of metallic static. The unraveling is a spectacle, with vocalizations cruising along it’s descent, Death is coming / To take me soon. Transitioning, the passage moves to favoring yowling at the point of disintegration, embers still alight.

In contrast to the Myers Rooney To Bleed album, this conveys Schmale’s great range of evocation; there a drifting and gilding the expanse, here a measured writhing and smiting. A strong working songwriter that deserves a bit of your support if you are able.

There’s a new 2022 split with mr submissive also to check out.

TRACK | Wand – Flying Golem

5/5 golden merles

Psychedelic rock from LA, “Flying Golem” convincingly summons something strange and special from the inanimate. The instrumentation approximates something graceful, aloft and massive. Driving melodic guitars grind and latch to the steadfast percussion, synths delicately sprout from the structure.

I have very limited patience for guitar solos in general but this one is adequately shattering and incorporates the discordant with deliberate experimentation. Through its winding and dissolution it manages to say something new and complimentary within the context of the demolition.

Sadly the bandcamp has one selectively available track, so the YouTube link won’t show up in the hype machine. But also check out the beautiful video on youtube directed and animated by Meghan Tryon & Garrett M Davis. $9 for the digital, abridged in its preview. The vinyl’s relatively rare but can be located for the right price.

TRACK | Vivian Girls – I Heard You Say

5/5 golden merles

It is mercifully easy to be absorbed in the cascading vocal harmonies of “I Heard You Say.” Its many graceful hooks effectively converge with a sense of punk dread and foreboding. And there is some real force of these coalescing influences.

The instrumentation is quietly elaborate for the garage rock genre, sneaking, rattling and smashing in support. There is much smoldering grit to the production. Everything collapsing through the phases into its right place, nothing extraneous just perfectly balanced.

Between Vivian Girls/The Babies, Cassie Ramone is one of my favorite songwriters. 250 days into this project, it is difficult to believe that I haven’t yet featured either and this is the remedy to that. It’s an oversight.