Sound Salvation Army

While recounting my favourite albums of the year to a friend this morning I realized that a lot of my choices centered around extremely studio-polished works; albums like Why?’s Alopecia, the Mountain Goats Heretic Pride, and Fucked Up’s the Chemistry of Common Life are just as much studio accomplishments as they are songwriting accomplishments. They sound just as good as they’re written, incredibly complex, deeply-layered walls of sound.

Having had some training in audio production, I have no doubt that influences my opinions to some extent. I don’t want to be some kind of audiophile snob, but a song that sounds sharp and has a nice, clean recording with great dynamic range is probably more likely to catch my ear than a hissy four-track recording of some dude in his garage with a banjo. Yes, that’s an Iron & Wine reference; the example is apt because I don’t think I’ve ever listened to his first record the whole way through because the recording is so ghetto it kind of depresses me.

That’s not always the case, however. A long-standing love of punk rock has conditioned me to be receptive to second-rate recordings, even if it might be slightly painful to my ears. After hearing good things about the Underground Railroad To Candyland I ordered one of their LPs and I as pleasantly surprised. Where I was expecting something in the Dillinger Four/Arrivals vein, I was treated to some old-school, surf-rock inspired, Toys That Kill-style jangly punk rock with a healthy dose of sass and attitude.

Vivian Girls, on the other hand, took a bit longer for me to get used to. I had downloaded the new full-length based on Fucked Up’s recommendation but had some initial problems penetrating the density of the sound. Everything is turned to eleven on this record and it can be tough on first blush to realize how cool and intricate the arrangements are, especially when it comes to the vocal harmonies. Of course, lest some think the low-grade, muddled recording is covering for a lack of talent, check out their Pink Couch Session for evidence that they really can bring it. The instruments may have a harder edge, but the Girls’ voices are soft and cuddly as the cover of Pet Sounds.

 

 Underground Railroad To Candyland - No Way! Miss USA! [1:58m]: Play Now | Play in Popup | Download

 

 Underground Railroad To Candlyand - Square Ball [3:32m]: Play Now | Play in Popup | Download

 

 Vivian Girls - Wild Eyes [1:54m]: Play Now | Play in Popup | Download

 

 Vivian Girls - Never See Me Again [1:40m]: Play Now | Play in Popup | Download

URTC is available digitally and physically from Recess Records.
Vivian Girls is similarly available through the magic of iTunes and on plastics and waxes via In The Red Records.

Pat entries low fidelity, noise, punk rock, the Underground Railroad To Candyland, Vivian Girls

2. Gaslight Anthem - the ‘59 Sound
I tried to listen to this album through new ears today, imaging what it would be like to hear it again for the first time. I couldn’t do it.

I think that might be the most complimentary thing I can say about the 59 Sound; that every time I hear it I remember every note, every chord, every backing vocal, every melody, every drum fill even. And I want to. I want to sing every note at the top of my lungs and have someone next to me singing the harmonies. It’s joy incarnate as far as I’m concerned. It’s overall the most enjoyable album of the year, by far.

3. Glass and Ashes - Glass and Ashes
It’s kind of a rare occasion when I find myself willfully putting on really, really noisy music. As much as I like punk, hardcore, and a small number of metal bands I’ve never really gotten on board with the whole noise scene. I like loud, angry music but I like it with purpose; at least, with more purpose than being difficult for the sake of being difficult.

I bought a special, limited-edition pressing of the Glass and Ashes self-titled LP on a whim when No Idea Records put up some copies of a pressing meant only to be sold at the Fest, their annual music festival in Gainseville. Something like 250 copies were made with pretty much no artwork and it is absolutely okay because the songs completely stand on their own.

The beginning track is an appropriately-titled hardcore blast. “From The Moment The Floor Dropped Out” is among the fastest, most brutal tracks on the album, a constant barrage of near-indecipherable lyrics spat with ferocity by a vocalist that sounds somehow melodic and impossibly harsh all at once. What follows is forty-five minutes of brutal music that is also at times brooding, ominous, violent, and deranged.

But it really is amazing how listenable it is when you get right down to it. There is an accessibility, a melodicism that makes the music surprisingly palatable. It’s noise, but it’s adventurous noise. As is usually the case, that stems from the fact that no matter what style of music these songs are performed in, they’re just exceedingly well-written. These guys have the potential to be huge.

Well, at least as huge as dudes in noise bands get.

 

 Glass and Ashes - Seconds Before The Floor Drops Out: Play Now | Play in Popup | Download

The ‘59 Sound is doing very well on iTunes and can be boughten physically from the label.
Glass and Ashes albums and other paraphernalia is made available through Steve Jobs;  and Var and the gang at No Idea Records, one of the most legit independent record labels ever.

Pat entries Best of, Gaslight Anthem, Glass and Ashes, hardcore, No Idea Records, noise, pop rock, punk rock, Side One Dummy, the Fest