BASHING ABOUT

CYMBALS EAT GUITARS — “Pretty Years”
THE GOOD: Long Island indie rockers Cymbals Eat Guitars come back with a more grounded (and maybe hopeful?) fourth record.
THE BAD: No complaints.
THE NITTY GRITTY: With the
jittery wail of singer/guitarist Joseph D’Agostino way out in front, the band crashes and burns through tracks both focused and upbeat (“Have a Heart”) and more down-tempo and emotionally
frenetic (murky closer “Shrine”). And in order to keep things intensely interesting, “Pretty Years” covers all points in between these two extremes.
The overall style remains what we’ve come to expect, a brash and crunchy combination of ’80s post-punk (“Close” resembles an early Cure outtake), ’90s indie (Pavement vibes continue to run rampant) and a hint of the spaced-out and quirky (noisy bits a la Flaming Lips).
Lyrically, “Years” is less pessimistic than “Lose” was two years ago. However, D’Agostino remains cautious. We’re not out of the deep, dark forest just yet. So I guess that makes “Pretty Years” a damn fine transitional record.
BUY IT?: Yes.

THEE OH SEES — “A Weird Exits”
THE GOOD: San Francisco indie garage outfit Thee Oh Sees regroups (now boasting TWO drummers) and gives us a cosmic 12th.
THE BAD: Nope. Just be prepared for a not-so-predictable time. Keep a wide-open mind.
THE NITTY GRITTY: Vocalist/guitarist/keyboardist and band founder John Dwyer leads his crew through an eclectic eight-song set featuring everything from simple stomping rockers (“Dead Man’s Gun”) to noise-infused drones (“Ticklish Warrior”) to fuzzy, psychedelic dreamscapes (“Crawl Out into the Fallout”). “Jammed Entrance” is a funk-infused instrumental (having two drummers is rather advantageous). Hazy, organ-soaked closer “The Axis” recalls the stoned splendor of Pink Floyd’s “A Saucerful of Secrets.”
“A Weird Exits” is that rare case in which a band decides to spread out musically and then actually pulls off nearly every experiment with flying colors. One is hard-pressed to find any huge missteps, and the album truly makes us hopeful for more wild sessions in the near future.
BUY IT?: Oh yeah.

WARPAINT — “Head’s Up”
THE GOOD: Female Los Angeles indie rockers Warpaint unleash their third.
THE BAD: Lead single “New Song” may have scared off some longtime fans. It’s a glossy, rhythmic tune that resembles HAIM as opposed to the group’s past progressive tendencies. But fear not — while there are some beat-heavy and/or “pop” moments on the new album, it’s mostly just Warpaint being themselves.
THE NITTY GRITTY: Songs such as “So Good” and “Above Control” bring back the non-traditional song structures, spaced-out settings, layered guitar work and fizzy psychedelics. In many instances, the ladies seem to latch onto bolder and tighter melodies. But they do that without sacrificing the half-dreamy, half-complex uniqueness that put them on the indie map almost a decade ago.
One could argue the band is doing a damn fine job of not falling into the trappings of delivering the same album over and over again. And “Head’s Up” is intriguing and accomplished enough to make us thoroughly optimistic for the NEXT set.
BUY IT?: OK.

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