Showing posts with label midbrow minimal. Show all posts
Showing posts with label midbrow minimal. Show all posts

Sunday, 8 December 2013

Extra Glenns - 'Infidelity' (Harriet)

Oh, to yearn for times past. Harriet Records! The innocence of this all - John Darnielle and Franklin Bruno coming together for three perfect songs, as perfect as anything else Darnielle penned at this fertile time. 'Infidelity' is elegant in its minimalism, capturing that wobbly experience just perfectly with the classic chorus 'I let my hand rest a minute on your stomach / like there was nothing to it'. 'Going to Lubbock' is the sleeper, but Bruno's arrangements, backup vocals and second guitar bring a mild arpeggiated complexity to the chorus that hadn't yet been seen in any Mountain Goats materials of the time. And then the flip - the glorious 'Malevolent Cityscape X', which sounds like an outtake of something from the Peter Jefferies/Alastair Galbraith scene, with it's backwards, sinewy electric guitar line ripping over the verses. It all comes clear for the passionate, practically shouted chorus. It's one of the most perfect few minutes of music Darnielle ever has laid to vinyl (or tape or plastic); it's erupting, wild and yet still recognisable, even iconic. In 1993 nothing could stop this. By repeating the word 'perfect', can I make it clear enough how much I love this record?

Tuesday, 25 August 2009

Azusa Plane / Roy Montgomery split (Colorful Clouds for Acoustics)

The Azusa Plane tune is titled 'Volume IV: She Was Into S&M and Bible Studies, Not Everyone's Cup of Tea She Would Admit to Me, Her Cup of Tea She Would Admit to No One' and it's a 33 1/3 slice of slowly pulsing drone. The cover art is apt and this is one that you feel more than you hear, know what I mean? Roy Montgomery's side, 'Cumulus and Fugue', is similar stylistically to the guitar/delay strum heard on Temple IV. There's a more tonal center than the Azusa side, though it's still barely recognizable as guitar, and like the best kinda of these things it works well either really quiet or really loud. Thin, translucent blue vinyl ties this all together conceptually and if you get your kicks doing as little as possible, this is your soundtrack.