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?

Elf Power - 'The Winter Hawk' (Kindercore)

I remember Elf Power. I remember seeing them, even them staying at my house, liking them, both this 7" and their first full-length.... but I don't remember anything about what they sounded like. This isn't to say they were forgettable, but I guess I forgot them. (I do remember them covering Eno's 'Needles in the Camel's Eye' live, and it was pretty good). This is their debut 7"; they were led by a really lovely guy named Bryan Helium, and were affiliated with the Elephant 6 label, though perhaps in a second-tier setting. This is a nice record; post-R.E.M. jangle (they were from Athens, after all), some violin playing, and a warbly clarinet opens things up with 'Grand Intrusion Call'; 'Heroes and Insects' goes for a dirgy, almost doom-like instrumental approach before some trebly strumming lightens it up. This seems a million miles away from the catchy Beatlesisms of the Olivias, until the B-side comes with the title track. This is more like it, "it" being that lackadaisical indie-pop sound that I still associate with the Kindercore label. Vocal harmonies and some recorder (or melodica, or something) makes this easy and light, but still not particularly 'catchy'. It's a pretty mixed bag, this 7", and stronger than I remember it - let's face it, I don't remember anything - and maybe its diversity is the explanation. The closing cut, the impeccably titled 'Exalted Exit Wound', takes things out on a fuzz+acoustic combo, instrumental again, and reminding me a bit of 'Here Come the Warm Jets' (the song), again an Eno connection. 

Car Commercials - 'Jar' (Leaf Leaf)

This is the debut slab of fucked-upness from these Jersey boys, and one that obviously resonated with me enough that I felt compelled to collect their discography. But how could I not, after hearing 'Holland's anthemic rush? Rock and roll lives, and this is a riff for the ages, and when it descends into bridge made up of an aimless arpeggio, muttering and other shrieking before rocking out on a total jam ... well, it's up there with the greatest rock mindmelds in the canon. And I'm not saying "this is a clever deconstruction of the greatest rock songs ever", I'm saying that this is one of the greatest rock songs ever, and who gives a shit about deconstruction? ( I bet they don't). My accolades aren't meant to diminish the accomplishments of the other 3 tracks here, all of which are previews of their future work. 'Make Me See Joanne' is a plodding, introspective trail that leads nowhere, and 'Water' is an exploratory introduction that is charmingly pastoral at moments, with hints of the walkman-fuckery we get later. 'Rest Stop' closes things out, a ballad of beyond-the-bridge strumming and naievely stupid narrating. This is still their best record, but isn't that always how it goes?