Rapid Fire Reviews: I Got Nothing
Normally with these weekly-ish segments I look for a few records that have something in common with each other that I can cover together because its cute and congruent. Once we get into the last few months of the year however, there becomes a point where I just have some records that I need to talk about before the curtain closes on 2021. These are three records that I really only put together because I originally went into them anticipating they would be good, didn't quite have the time to fully review them, but still wanted to talk about them in some capacity. So without further meaningless delay here are those concise reviews.
Space 1.8 - Nala Sinephro
Texis - Sleigh Bells
Sleigh Bells are one of those groups that kind of disappear in between album cycles and don't get the same level of press they once did as early 2010's indie darlings. But every time they emerge I see fans come out in mass to praise the duo for their infectious noise pop fusions. I've always had a soft spot for the band and I still love their debut album Treats quite a bit. Even when they aren't totally blowing me away I always want to stop by and check in on the band but this time around I was really intrigued by their singles. I'm glad I stuck around too, because Texis is the pairs loudest, most unpredictable record in years. While the record isn't quite as consistently catchy as the singles there are plenty more highlights throughout and the continues to creatively fuse the world of rock and pop with heavy guitars clashing behind cascading synth lines. For one up-tempo, energetic banger after another the band delivers a very manageable assault on the senses punctuated by a number of memorable refrains. While the first half of the record is where most of the major highlights lie, the duo never really loses me and I've continued to enjoy returning to the album since it first came out a few weeks ago. 7.5/10
This is normally the type of record I'd be liable to miss out on at first and then regret it later. I saw some rumblings about Nala being associated with Warp records earlier this year, then a few weeks ago a trusted friend recommended me the debut project which dabbles in worlds of ambient, lounge and jazz that I frequently enjoy. The final tipping point was a glowingly positive Pitchfork review I caught of the record that finally got me focused on it's soundscapes, and I'm very glad I gave it that chance. While the record is hard to pin down in terms of genre it does have an incredibly consistent mood that manages to transfer across different sounding tracks surprisingly well. The opening trio of songs bounce between field recording style ambient to saxophone centered lounge jazz and ends with a short and excitedly bright synth number. Despite these transitions the relaxing atmosphere of the record is unbroken and it's a sensation that runs throughout these tracks. Really the only thing on the entire album that sounds out of place are the drums on Space 6 which have a distinctly raw timbre probably related to the recording style that separate them from the polish many of the other sounds here are lathered in. The records biggest achievement is it's expansive 17 minute finale track Space 8. No song on the record truly embodies the idea of space conceptually like this one which blasts subtle synth tones and saxophone melodies into the galaxy sized distance. Despite the reserved nature of the sound it's such a bold choice that had me on the edge of my seat for its full run time to close the album. This whole record is just impressive in so many ways and Nala's keen eye for placing compelling sounds into these rich atmospheres without ever breaking the subtle balance of beauty they contain is simply magnificent. 8/10
No Gods No Masters - Garbage
For those unaware, Garbage is a Wisconsin experimental rock band who became one of the more acclaimed groups in the post-grunge landscape of 90's rock music. They had a punky, snarky occasionally industrial sound and a confrontational attitude none of which have faded in their decades as a group. After starting their career with a trio of impressive records they sort of fell out of favor critically until 2016's Strange Little Birds brought them back into the limelight with a bang. Here on the bands 7th record they are continuing to expand their ambition as rockers and updating their politics to craft poignant critiques for the modern age. While the band certainly isn't afraid to be a bit on the nose in their lyrics they do ultimately come off sounding pretty conscious with only a few exceptions. The most attention grabbing of these flubs is the "If I had a dick" series of refrains on the track Godhead. While they do sort of make sense when the song reels back as an overarching feminist statement I can say that I definitely misunderstood the message at first and I don't think that has anything specifically to do with my demographic. I know the song isn't about me. Anyway the best part of the record is its instrumentation which continues to dabble in a number of different rock genres fluidly and effectively. The hard chugging riffs, fuzzy distortion lathering everything and generally solid hooks make for a really enjoyable collection of tracks. The band does drag up an old demon from their early days as they once again struggle to make the records quieter and more intimate tracks sound as interesting as it's loudest and most brash. Overall given how surprised I was that the group had a late career renaissance a few years ago, No Gods No Masters proves that it was no fluke. Garbage has a lot to say and continues to find interesting ways to say it. 7/10
