Singer: Unhistories CD review (Magnet)

There are only seven songs on the debut from this semi-psychedelic quartet, but Singer jams quite a bit of sonic information into each of those tracks. And they do it with the simplest of implements: two noodly guitars, one thrubbing bass and a constantly rolling and tempo-changing drum kit. Oh yeah, and then there’s the voices. While not challenging the Beach Boys in the mellifluous harmony department, the four members of Singer – as their name would imply – do indeed like sidling up to the microphone together to belt out their wobbly vocal polyphony. Sounding like the result of some truly focused jams, Singer injects math-rock unpredictability into what superficially should be a “freak folk” record. But on a track like the loping, multifaceted “Please, Tell the Justices We’re Fine” – in which gentle, pastoral moments are buttressed against wending, frenzied guitar lines and propulsive, jazzy drumming – it is very clear that this is not that sort of record. Instead, Unhistories combines several idiosyncratic styles into a gem of structured improvisations.

First appeared May 2008 in Magnet.

Witch: Paralyzed CD review (Magnet)

Much to-do was made when Witch released their first album in 2006. “It’s J Mascis’ metal band,” said the to-do-makers. “And he’s playing drums.” While that debut disc may have been more more metallic than fans of Dinosaur Jr. were used to, on <I>Paralyzed</I>, Witch makes it very clear the sonic milieu in which they’re operating. Sounding like a lost Steel Pole Bath Tub record, the more psychedelic (and slightly psychotic) influence of guitarist/vocalist Kyle Thomas (of Feathers) bears down heavily on this decidedly un-heavy album. Though awash in noisy guitars and hammered-upon drums, <I>Paralyzed</I> is aggressive and loud, but far from being beholden to the tenets of True Metal. Chunky power chords are replaced with meandering fits of phase-drenched spazz-fuzz, while headbanging rhythms are eschewed in favor of a pummeling, forceful drum attack. Add a production aesthetic that favors muddled noise above propulsive clarity, and the result may not be metal, but is nonetheless evil in its own way.

First appeared May 2008 in Magnet.