BREEDERS, THE, “All Nerve”
I have missed out on the other Breeders reunion records that
have been released in the last few years for whatever reason. I have no good excuse for this. However, this record here is the first
to feature the complete lineup from the fan-favorite “Last Splash”, so I was
expecting good things. At first I
was thinking it would be an upbeat burst of catchy indie rock with a playful
aggressiveness based off the first single “Wait In the Car”, as well as my
preconceived notions of what a “Last Splash” lineup would produce. But “All Nerve” is mostly a breezy and
lackadaisical affair, complete with the Deal sisters particular style of
songwriting- soothing vocals, strangely melodic riffs that sound like what I
imagine smoking a bit too much dope and having a pretty good buzz going from a
few too many cans out of the 12 pack feels like. At first listen was lukewarm to it. But after a couple more spins it really
revealed itself to me as a pretty excellent record. “Spacewoman” meanders through hazy weekends of the summer,
not having a care in the world, sleepy yet full of vigor. “Walking With a Killer” has all the
subtlety and soft melody of a Roy Orbison song, yet the lyrics hint at a
sinister tension (and scary subject matter) that transform it into a song you feel
guilty for humming along to.
“Blues At the Acropolis” is another excellent Breeders closing track,
slow and steady, kind of epic in a not-trying-to-be-epic sort of way. But there are the upbeat songs too,
like the aforementioned “Wait In the Car”, as well as “Archangel’s
Thunderbird”, a cover by 70’s Krautrock group Amon Duul. The original sounds so much like a
Breeders song it makes sense for them to do it in their own way, infusing it’s
own psychedelic/slacker/grunge bit amongst the reverb-y vocals. Honestly, I had no idea it was a cover
and immediately thought of Harry Nilsson’s “Jump In the Fire” (just look up the
“Goodfellas” soundtrack) as a point of reference for the song. OK, enough obscure
sub-referencing. It’s a Breeders
record. It’s fuggin’ good. Get it and enjoy a little slice of
off-beat heaven. (4AD)
HOT SNAKES, “Jericho Sirens”
As a creative type of person that I am I am completely
envious of people such as John Reis and Rick Froberg, who both seem to be an
endless well of ideas, art, and songs that are so plentiful in scope and are
always quality. How many albums
did Rocket From the Crypt release?
How influential are those two Jehu records? How perfectly simple, yet totally rocking, were those three
Obits LPs? Let’s not even mention
the plethora of side projects and one-offs Reis has spat out in the last 20
years. And now, over 10 years
since the last Hot Snakes record, comes their fourth long player and it’s some
of the best material they have ever done.
I’d say, on the whole, it feels a bit more aggressive than previous
output, but that garage punk rock n’ roll they do so well is in full effect and
recorded in such a way that adds an extra whallop to the 10 new songs they have
blessed us with. It’s at once kind
of dark and mean, and also a fun blitzkrieg of a ride through the respective
members brains. It’s a pretty damn
near perfect record from a band that I’m very happy to see active once again. The only thing missing is the trademark
art of Rick Froberg, but I’ll settle for a bitchin’ reflective cover featuring
a photo of bassist Gar Wood catching a killer wave. (Sub Pop)
MONOLITH, “Two Wolves”
While I guarantee that there has got to be at least three
other bands currently existing with the name Monolith (their bandcamp address
is ‘monolith8’, just FYI), who likely play, as one might expect, glacially slow
and heavy sludgy doom I’ll give this one- located in the Ithaca, NY region-
points for doing what they do considerably well. Yes, they cover that Neurosis/Isis style of heavy that has
been done so many times by so many bands, and I really thought that whole thing
was kind of done with at least 6 or 7 years ago. But hey (upstate) Monolith carries the torch without concern
for who is doing what, where, or with the same name. They are all exceptional musicians and remind me more of
Isis, circa “Mosquito Control”/”Red Sea” more than anything with their
relentless crush and bleak, abrasive sledgehammering of sludge. The band started as the studio project
of one of the members, but grew into a full band and this is their first output
with all members contributing.
Hats off to them committing to their method of destruction, regardless
of trends. (self-released)
NULL/ HUSBAND STITCH split 7”
This came out a bit ago, but I’d be remiss if I didn’t show
it some love. Once again, the
Birmigham, AL posse in Null brings forth that sort of meditative, yet
thunderously massive sound they have been chipping away at as it becomes this
masterpiece of sonic perfection.
Their side of this split contains a single, seven minute song,
“Pedestrian”, that works in their brand of repetitious mantra and accompanying
sung vocals. It continues what the
band has been doing so well thus far, and I look forward to anything and
everything they do going forth.
The B-side is Nashville’s Husband Stitch, the meaning behind
the name being quite uncomfortable and I’ll leave it to you to look up on your
own. They offer two songs, both
quite incredible in their own right, yet pretty far removed from their 7”
partners. “Snowflake” reminds me
of newer noiseniks like Plaque Marks with a slight garage-y feel. “Sincere Ignorance” could be a B-side
from Jesus Lizard “Down”, with it’s driving bass, hopping drum beat, and sharp
guitar jabbings. Add to it snarky/pissy
vocals last seen exiting an L7 record back in 1993, and I mean that as a good
thing. Two different bands, both
making exquisite racket. (WarCrimes Records)
WILL HAVEN, “Muerte”
I have always been a pretty big Will Haven fan. They have been around for a good 20
years and have turned out a handful of great albums full of Fudge
Tunnel-meets-Neurosis, wrapped in a shiny Deftones gloss. I’m not sure how anyone who has never
heard this band may take that, but that’s what I’m picking up with what this
band has excelled at for ages.
However, most of their records are kind of same-y to me, with the
exception of “Carpe Diem”. For
whatever reason, that one will always stand out to me as the best. I will listen to it on repeat over and
over again and never get sick of it.
It’s a fucking incredible record and it sits in the middle of their
catalog, but I keep coming back to it some 18 or so years later. So on “Muerte”, which the band has
hinted at as being perhaps their final endeavor there is one thing that has
changed with this group and that is how they have progressively made their
songs slower, sludgier, uglier, and taking their time. Sure, they have pretty much always kept
songs at a moderate pace (with a few exceptionally upbeat songs scattered over
the years), melding their sludgy tendencies with heavy rhythms and groove. But that Neurosis ethic has appeared to
have more of a hold on their sound these days as the band will make you wait. They’re taking their time damnit
because they can. They’ve been at
this 20 years, they can do whatever they feel like. So I guess best to go out in their own terms right? This is not a bad way. (Minus Head Records)
WRONG, “Feel Great”
To me, one of the most exciting recent bands these days is
Wrong. I mean, they appeal to most
things I enjoy in heavy music- insane live energy, clever dynamics, gross
amounts of feedback and distortion, and yeah, they absolutely love Helmet. Some people dislike this band for how
closely they resemble Helmet, but I’m all for it because they do it so damn
well. However, for those who are
of the ‘dislike’ camp I’d encourage them to give this band’s second long player
a try. The guys in Wrong started
out in another band that was extremely technical and those roots are a bit more
apparent on “Feel Great” where they are throwing out some intricate changes,
stop-on-a-dime transitions, and some unexpected melody to go with their iron
slab riffs of musical demolition.
And for us lovers of things 90’s-era, Wrong still hit the spot. These are clearly musicians who can
pretty much play anything they set their minds to, and what it seems they are
getting a better handle on (at least in a few songs here) is the best trick
that Helmet had in their canon- making very complicated songs sound simple; the
easy riff driven by a semi-elusive 5/6 beat, the stop-start timing… Wrong pulls it off on the menacingly
slow title track and then right after that the jump-start melodic (and very
cleverly written) catchiness of “Upgrade”. They’re two totally different songs, but are the best on the
entire record. They also mess
around with some studio tricks with the strange two minutes of feedback closing
out “Zero Cool”, as well the clanging drum parade opening and closing
“Anaerobic”. It certainly feels
that Wrong are stretching their wings a little bit here and coming into their
own as well. They really can do
no… ah shit, caught myself in a
cliche’. (Relapse)
