Fascinating Once Twice Moonwalk Tutorial
Once Twice , Three times a … anyways. Right about now we have new Beach House songs. A new LP from Petty Bunco’s Emily Robb ( set six string phasers to kill, learn how to moonwalk at the same time) and Golden Fang LP that seamlessly merges genres and labels into their own blend of authentic tune – age. Soon a new zine will release and then maybe I can focus more on digital blog, until then. Carry on.
Beach House – Once Twice Melody – Sub Pop Records
Beach House releases new material. Coming soon is an entire LP. For now we own a handful of songs that are releasing gradually. As a result, we focus on what we have at this moment and there will probably be more by the time I finish this because let’s face it I’m only one man and how many Christmas fruit cakes can I bake in a day.
First is Once Twice Melody. Speaking of fruit cakes and the subtle texture and layers of said desert you might find this song similar. Let me clarify. The production and various multi-tracks give you rich sonic textures. If sound had obvious color, the arrangement on this track would be multi colored.
An electronic, orchestral feel permeates Once Twice Melody.
Fans of synth driven indie rock delight over Superstar. This track has a feeling of welcome home and arrival as if you have landed back in Beach House territory once again.
Pink Funeral has quite a bit happening on it. A tense orchestral string intro, wedged between high hat flurry beat and ominous deep synth. It then morphs into angelic like harp arpeggios that are probably computer generated. No matter, they float and wash in and out. It feels like a magical and slightly nightmarish space, all at the same time.
Fourth and last (for now) is Through Me. This track is just as good as the other three. If I focus on the background music , it feels like a child like fantasy. That is to say , a sense of wonder and awe permeates the composition. The dueling vocals of Victoria and Alex are solid on this and the other three. I am asking myself, can Beach House deliver the entire LP of the caliber of these four songs? Time will tell.
Golden Fang – Man With Telltale Scars
Golden Fang return with an LP “Man With Telltale Scars”. First out the gate is Sweet Dreams. A gradual quiet opener that goes from narrow tonality and then opens into a panoramic overview of what is to come. The first chord may be electric , but has the finesse of acoustic fingerpicking. Carl Redfern’s vocals are just as good if not better. Haunting at times, and others commanding attention. Breathe is next and is covered here. https://meatsheetfanzine.com/october-rusted-reviews/ Be kind to yourself and the blog and have a tap or click.
After that single you get a track that showcases Golden Fang’s ability to blend genres. I’ll spare you listing the genres as labels tend to limit the scope. It seems wise though.
The Night is a vigorous adventure with a beat that does your typical straight beat one better. The band drops out and said beat is even more apparent and tasty. The Night is steeped in alternative 90’s guitar rock that doesn’t suck (Any of the bands that teeter on the brink of jangly vs. heavy, there are and were many). Don’t Be That Way is highlighted in the previous link, here it is again https://meatsheetfanzine.com/october-rusted-reviews/ . If you are not afraid of checking out songs over six minutes I suggest you click, tap , and listen.
Teo’s Day features a call and response guitar melody that could lodge itself in memory if not careful. It’s tempered with Redfern’s vocals and subtle cymbal bell hits throughout. The bass and background vocals just fill it out for a winning breadth. The clap track is a great touch. Usually yours truly approaches clap and whistle tracks with utmost caution. On the other hand it works in Teo’s Day‘s favor.
Moving right along, Sooner or Later is a pop number with searing overdriven guitars, cascading bass lines, and classic stompy drums.
Speaking of the drums, in addition to the stomp, the groove is classic. I don’t think it is four on the floor, (be kind I’m a guitar player), but I can tell you AC/DC, The Cult, and a few hundred have employed this effective beat. Let’s fly to the next song
Dreams Gone Bad offers some palm muted, picked entry to Golden Fang’s array of sounds. Like The Night, Dreams Gone Bad is probably tied for the most aggressive, lively and or moody track on the record. I bet this one sounds just as good live. Whomever captures this in the studio captures a slice of the bands essence of live playing. The sustained ending sets up the final track quite appropriately…
Last is Polymers Are Forever. A rollicking, but still subtle bass crawl reminiscent of Adorable’s Sunshine Smile but with more tension. This song, like Don’t Be That Way (and my blog) is not for the short attention spans. But then again if you made it this far into this post you can already surmise that. It’s tension build and release with smooth bass runs is like Forrest Gump and Jenny. Yes peas and carrots. They just blend well. Polymers Are Forever clocks in at around 7 minutes. It crescendos and builds its electric signals up to a cliffhanger like sentiment. Meanwhile the drums seem to take a heavier beating on this one as the volume and signal increases. Scrawling feedback accentuates the mix and the signal begins to fade. Appropriate closure song.
“Man With Telltale Scars” overall is a continuation of Golden Fang’s signature sound. Authentically alternative and yet still showing classic rock and roll proficiency.
Check it out here https://goldenfang.bandcamp.com/
Emily Robb – How to Moonwalk – Petty Bunco Records
If you like noisy guitars that are thoroughly cooked, well done that is, this LP ensures that they are burnt to a crisp. However that does not mean it is without six string flavor. Just because the tonality is singey and smolders, doesn’t mean one can’t dig into this and savor its richness. Robustness as well. In fact, for those that need a break from your structured four piece rock and roll and all other labels / permutations of sort; we’ll find refuge here.
First up is Oom as it lurches and staggers onto the Philly streets. The forthcoming sounds on Oom and others are the equivalent to rusted metal soaking in paint thinner. The howling backdrop sound adds depth and menace to the mix.
Patience rewards on How To Moonwalk. It helps to love guttural and expressive guitar riffs, gronks and growls too.
Take for instance Live at Friendship Speedwell. It sounds like a generator of guitars powering up. In somewhat unison. There’s a nifty little drone guitar vs higher wailing guitar counterpoint that could easily induce me into a brain fog ( NOT the bad kind, lest you wonder) Lissstennn .. https://emilyrobb.bandcamp.com/album/how-to-moonwalk
I Really Want to Know How to Moonwalk is a fuzzy, dirty, thud filled romp.
This title is the problem of wanting really badly to learn this skill and the LP is the solution. As dirty as this fucker is.. it still is a blast to listen to. Basically the deviousness of it is what makes it satisfying. If you defocus your listening the guitars melt into a strange minimalistic and twisted bag pipe moan. (sans shrill overtones, they’re kind of predominantly rumbly, but not bassed out)
But let’s backtrack. If you happened to catch some of the other artists on this label such as Astute Palate and Hynotizing Chickens you will find a similar guitar drone (if nothing else attack or approach of guitars) yet without the caterwauling, bass, or ( most tracks) drums. It’s pretty much guitars expressing themselves as moody and cantankerous individuals(not a bad thing, if i may add, all in the right place and time).
After that you are left searching on Where Is The Foot Of The Bed. However with the careening guitar and staccato bass line, the foot of the bed becomes less relevant.
Arrow is a mere thirty six seconds. It flows right into (Here Come the) Arrows of Fortune. Which is much longer. But both are like hitting a a gong that emits fuzzed out, super thick wavelengths. The latter has screes and squeals that range from air brakes to lower sounds that mimic a violin being scraped unskillfully. Again , I don’t think this counts against the song at all. Songs like this offer excitement you won’t find in the 3 or 4 chord wonder bands. These tracks are not overtly approachable and that is exactly why I full on recommend them.
News From A Fog is like the other tracks as far as dissonance. On the other hand there is an odd, unsettling warble to the string noises. Equally perplexing is how even though it’s unsettling I find the phasing in and out of the warbles pleasing. I’m eager to know how it is achieved.
Saucer trudges by with thickness, murk, and cloudiness you may find if the local Schuylkill was composed of guitars submerged and riffing out. Also the rhythm of riffs can totally hear where drum and bass would go. That is to say, it’s absent.
Deeper Than Dust is the last chance to learn moonwalking and its playing is exuberant but with just as much dirt and fuzz as all the others. The linear parts of the riffing could be anthemic. The accompanying guitar is not having that as it squawks from a bend. It rips the traditional structure and breaks the pattern. This and a few tracks read in my mind as someone who is not concerned about “songs” in the normal way. They are concerned with letting it loose and making sounds for the fun and sake of being in the moment. Granted there is structure, but it is not overly aware of itself. It’s just a wild ride all the way.
OK kids. Once Twice reviews have been fun. Meatsheet Issue #7 is about to be born. Hopefully I’ll be able to come up with fresh content for this digital mess and my printed zine. In the meantime I request two fold support. Support these artists if you can. Clicl , tap, follow, share, and purchase as you see fit. Also if you can support me. We all would be grateful and your support allows us to keep going. Cheers