Nonpareils - Scented Pictures

 
Liars was the indie love story that wasn’t—that is if you’re looking at it as one of the more splendidly hideous collaborations between oddball songwriters to emerge from indie’s voracious ethos. In their fifteen years of existence, they’ve relished but never banked on their notoriety as workaholics whose output defined how insignificant the parameters of indie rock can impose on the restless and the unruly. Before the release of last year’s TFCF, in which de-facto frontman Angus Andrew remained the only member of the project following the amiable departures of drummer Julian Gross and all-around whizbang Aaron Hemphill, the group was unyielding in their penchant for sonic mischief and their utterly bizarro aesthetic.
Mere months after TFCF tested Andrew’s newfound role as charge d’affaires of his once-bombastic project, Hemphill steered into a different and even more eccentric course of action. Relocating from Liars’ semi-permanent home base of Los Angeles to Berlin, Hemphill refused to suspend his songwriting habits for even a second and set to work on a statement of his own. Take a gander at the press release for his proper debut under the moniker Nonpareils, and you’ll immediately suspect that Hemphill’s stratagems are exceedingly strange and potentially infuriating even for Liars’ loose coterie of standards. These tactics include laying down drum rhythms without click tracks, distracted recording sessions, and committing atrocities of equipment malpractice in the pursuit of off-kilter directives. Shunning the maligned contortions of Liars’ Mess, now symbolically their last full-length as a trio, Hemphill’s Scented Pictures is the hypnagogic outsider of the Liars canon.
Arguably, the most proximate reference points for Scented Pictures stray far from Liars, instead citing the cluttered tapes of early Ariel Pink and the lopsided pop of 60s cultists the Shaggs as distant muses. Each hand-crafted melody hones in on Hemphill’s variable performances, which unavoidably reflects his sorely missed jack-of-all-trades tasks in Liars, from his rattling drum beats to his sunny guitar plucks. Progression between tracks is waived to consolidate each melody into a singular entity packed with layers upon layers of mindless, glitchy textures and alien moods. Not only are these hunks of otherworldly sound distinguishable by their plan of attack, but their dynamics are often warped beyond perception. Lead single “The Timeless Now” flails with its pitch-shifted-vocals-as-harmonizer and molasses drum stomp, mostly culminating in an electronic funhouse of horror and obfuscation. Think of WIXIW’s skittery electronica but obtuse, or Liars’ self-titled freakouts but transposed to audio workstation trickery.
Equally accessible, or at the very least enthralling, is the primal dirge of “Cherry Cola” and the cluttered overtures of “The Fever That Goes Up and Down,” both of which leaching as much immediacy as possible with Hemphill’s often-tuneless vocals and explosive arrangements. The organic-minded numbers of Scented Pictures might appear the odd ones out in the midst of jumbled digital instruments and padding—most notably, the wiry guitar and bass duality of “Make Me Miss the Misery Girls” that devise the album’s harmonic centerpiece, but deviates from Hemphill’s anti-tonal structure. These melodies aren’t contentiously drawn to the polar opposites of emotional value, instead choosing to retreat into precepts akin to cartoony and curiously avant-garde. At times, the checkered direction produces a couple of tediously ineffective tracks, such as the helter-skelter glitch waltz of “Ditchglass, They Think” that flushes analog rubbish through a sheepish synthesizer hook.
There is a conceptual foundation for Scented Pictures that appears antsier to serve as its takeaway versus Hemphill’s insight as a producer in the wake of his departure from Liars. If miscalculation and hocus-pocus doth make the quintessential experimental debut, then Nonpareils will garner some attention for the versatile crazy-to-calm dynamics (i.e., the transition from “Invisible Jets” to “Press Play” in a few minutes’ time) and full-clad effort. Much to Hemphill’s chagrin, Scented Pictures is not a wonky pop record by essence, but pleasant in the same passage that exalted Atlas Sound’s bedroom material or Panda Bear’s worldly anthems as plainly experimental music. These are abstractions that are perfectly ripe in the post-Liars eon, and Hemphill’s talents will reemerge as a potent but unpalatable force in due time.
You can check out Nonpareils’ new project, ‘Scented Pictures’ on Apple Music, Spotify, Soundcloud and Youtube. And be sure to check out Nonpareils here.

Unknown Mortal Orchestra - Sex & Food

In the totality of the rock canon, psychedelia bears one of the worst reputations. Even worse, dissatisfied rock ‘n’ rollers would be quick to dissent if it weren’t an unspoken rule that the only unwavering fans of psychedelia fall under the canopy of brain-fried drug enthusiasts or disenfranchised stooges who are too contrarian to digest the low-orbit pomp of AOR. To appreciate the hallucinogenic splendor of psychedelia requires an appreciation for sonic saturation, not just in infectious hooks but mind-bending effects and frenetic production techniques—but in defense of its detractors, it’s an overwhelming experience when the tenets of maximalism take hold on its visionaries. Thankfully, there’s a pretty generous thing called “pop” to dilute what sensitive ears may fear.

If you’ve heard a sliver of what this decade has offered in the way of accessible indie/psych amalgams, you’ll, at the very least, manage to pick up on some of the hype that’s produced some of the vastest albums in the last few years. One of the more prominent players in the revivalist by-line, multi-instrumentalist and acid-washed proselyte Ruban Nielson, didn’t rush into the spotlight with full expectations. In the lingering wake of the MP3 blogosphere phenomenon, the former Mint Chicks leader struck his second renaissance under the moniker Unknown Mortal Orchestra—the breakout in question was the freakish psych ditty of “Ffunny Ffriends,” which continues to make its rounds to this day. Nielsen’s homespun recordings cropped up in a proper debut album issued in 2011, followed by 2013’s brawny II, and lastly topped out by 2015’s uniquely conceptual and clear-cut Multi-Love.

Thus, it’s surprising to hear Sex & Food, the band’s fourth album, as a guileless return to form rather than a logical step forward into mainstream fullness. This trajectory isn’t a mere allegation, but a sign of Nielson’s aptness at transforming his once-spindly compositions into full-band likenesses in a compressed amount of time. Nonetheless, it’s still a stretch to label Unknown Mortal Orchestra as the stoic answer to this decade’s psychedelic orgy of a revivalist movement—brief introduction “A God Called Hubris,” in all of its nitrous oxide-fueled silliness, will refresh your notions of Nielson as a hackneyed, but talented arranger. Even if the seven-year span of UMO’s existence seems meager, there are wistful split seconds of déjà vu from Nielson’s discography, which attests to Sex & Food’s sampling of past explorations flocking together to form a fleetingly sleek final product. Finger-picked and scantily visceral, “This Doomsday” will unhesitatingly summon the bucolic harmonies of II’s “From the Sun,” but the former is far from a desperate repeat of Nielson’s most memorable works.

In hindsight, the seventies hue cast over Multi-Love accentuated the softer edge of Nielson’s songwriting even at its most sonically raucous. Two years after, Sex & Food withdraws the low-fidelity freakouts of Unknown Mortal Orchestra’s debut to a tantamount degree without leading to the idea of imitation. Take the waterlogged “Major League Chemicals” or the fuzz bottleneck of lead single “American Guilt,” and these flashes of snazzy technical work construct some of the album’s more swaggering bleats for attention. Warped and glossed with an armada of tremolo gadgets, “Not in Love We’re Just High” siphons the sexy out of the sixties, barely raising above a tripped-out whisper. The sun-splattered chorus (“Said we’re not in love / We’re just halfway out of our mind / And we hang out high as kites”) might scream potential slacker rock hit, but Nielson’s contagious and carefree pop formula suggests something more grandiose. Look no further than the willowy pomp of “Hunnybee” and the wistful space of the exceptional closer “If You’re Going to Break Yourself” to discover the intimacy in Nielson’s craft.

Whatever Sex & Food wants to make you feel through its druggy semantics and equally trippy soundscapes, it’s an inevitably moving sentiment at play here. Middling in its tracklist are some of Nielson’s career-defining performances, although as a sum of its parts, Sex & Food settles between much-needed upheaval and a pleasant update in the flimsy annals of Unknown Mortal Orchestra. For a songwriter whose talents always seem directed in a particular headroom without calculation, Nielson’s latest batch of uppers wrestles with psychedelia as an emotional tool rather than a stylistic pulse—it’s all too good to be true at times, but it’s worthy of multiple listens.

You can check out Unknown Mortal Orchestra’s new album, ‘Sex & Fo0d’ on Apple Music, Spotify, Soundcloud and Youtube. And be sure to check out the band on their Bandcamp and website.

Screaming Females - All At Once

This indie-rock band from New Brunswick embarks on their seventh full-length release with a sound that captures elements of alternative music from decades past while still delivering an album that feels new. The band has put together a compilation of fifteen tracks that clock in at around fifty minutes. Though a lengthier album by today’s standards, the mix of shorter and longer tracks are positioned well and the album doesn’t feel drawn out.

This record opens with the haunting “Glass House,” a song that is strong and dramatic. The vocals take turns with the amplification of the guitar and drums – a back and forth that is sure to capture attention. This repertoire highlights the nature of the tempestuous themes on the record, and the format of this opening track sets the stage for the rest of the album’s lyrical content. The track ends abruptly with the vocalist’s voice, seeming to declare that she has the last word in the matters discussed lyrically.

“I’ll Make You Sorry” has an infectious hook with a guitar that reeled me in. The overall sound is reminiscent of Sonic Youth and sounds like it could have been released in the late ‘80s.

“Dirt” is characterized by its cynical lyrics which go well with its dreary sound. The vocals are more monotonous on this track, but it feels appropriate for the subject-matter. The lyrics are about someone’s words essentially being dirt, and the short length of this song suggests that the vocalist has nothing left to say to whomever it is dedicated.

There are a few forgettable tracks on this album, but some redeem themselves by picking up some interesting qualities later in their run-times. ”Soft-domination” starts out rather bland but has a quiet-yet-concentrated instrumental between the bridge and final verse that breaks the repetitiveness of the song. “End Of My Bloodline” also has an issue with repetitive lyrics but its tone sets it apart from the others and makes it rather memorable.

“Agnes Martin” is worth nothing because of its nod to early ‘90s alternative music. At times, the layered guitars paired with the bass remind me of Siamese-Dream era Smashing Pumpkins, known for the heavy-handed albeit wonderfully crafted guitar-work. I felt the Siamese Dream influence again in the closing track, “Step Outside,” which starts out with a shining lengthy instrumental, leading the listener to believe the album might just close without another note of Marissa’s voice. Just before mid-point, however, the vocals enter and Marissa’s delivery is nothing short of a pleasing closing to the album.

While there are some songs that feel like filler, there’s enough variation between tracks that the full-effort doesn’t get tired and lost along the listening experience. There is a visit to alternative music of a couple of decades ago on this record, but lyrical themes like those on “Glass House” (possibly a commentary on the transparency of our lives via social media) remind listeners that this album is, in fact, a record of the present-day.

You can listen to Screaming Females’ new album ‘All At Once” on Spotify and Apple Music. And check out Screaming Females at their website.