Not so long ago I was really digging on the first single from Behavior‘s forthcoming Spirits and Embellishments record, so I’m coming back to the group to see they dropped another tune from the LP. Something in the band’s sound is so very hypnotic; in this tune it seems to be the stationary guitar riffs and that deepened thump of the percussion that has this almost animalistic nature to it. It allows for the vocals to sort of just hang out, take on this indifferent persona that radiates LA cool; it’s like the band doesn’t really give a fuck what your musical expectations are, and in that, they draw you into their little circle. I’m looking forward to this LP; it drops next week via Post Present Medium.
Although you can see the lights in the blogosphere starting to dim, we still get a huge number of emails all the time about new music, which I love. But, sometimes, you can’t squeeze everything into your listening, like this Behavior track. It was sent by a friend, so I went back and fell in love. In a sense, it reminds me of what I sort of wish had come out of the NYC scene of the early 00s…there’s touches of Strokes/Walkmen/French Kicks here, but the effortless cool doesn’t seemed donned for approval, rather an innate quality that lets the band throw jazzier elements into the mix atop jangling little guitar notes. It’s honestly like the band truly doesn’t give a fuck, they’re going to craft their own sound, and I love it. They’ll be releasing Spirits & Embellishments on October 18th via Post Present Medium.
It seems like now is the perfect time for acts like Behavior to drop back into our consciousness; their new single “The Thirsty Garden” seems to take cues from the present batch of post-punk, while still brandishing its own distinctive flare. The first minute seems intent upon inviting you into the song, fueled by tension-building guitar and the indifferent cool of the vocals. Then there’s 30 seconds of angsty rising action that recalls (to me anyway) touches of Shellac or Fugazi, all waiting to be unleashed just after the 1:30 minute mark. From there, you get this odd time contract that throws you off, with this little gruffness at the 2:07 mark kind of hinting at a Paul Westerberg nod. It’s fucking cool, that’s what. The new record, Spirits and Embellishments comes out on October 18th via Post Present Medium.
Olympia, Washington’s best kept secret might have been Gun Outfit, that is until people get wind of the incredible piece of work they’ve constructed, and just released. Hard Coming Down is their third LP for Post Present Medium, and according to press, the first that includes bass. I don’t care much about any of that, other than I can’t get enough of their blend of Sonic Youth meets Built to Spill meets Dinosaur Jr meets rock n’ roll.
Hard Coming Down almost opens up softly, with a relaxed female vocal from Carrie Keith, but that doesn’t stick around for too long. Guitars begin to ring out loudly and angular-ly, while drums pound heavily in the background. Of course, the Sonic Youth attribute does exist in the opener, with the band going from soft to hard in a flash, though Keith has more of a sweetness to her vocal as opposed to Kim Gordon. From here the album goes into one of its many highlights with “Lau Blues,” with Dylan Sharp offering up his drawn out vocals for a change in the album’s dynamic. Here you’ll find the same sharpness to the guitars, though they have a country-fied meandering to them, all working around Sharp’s vocal.
While it’s easy to throw these guys in a grab bag of various alt-rock favorites, they manage to make the sound entirely their own. For instance, the opening guitar work on “I’ve Got a Gift” surely has that fast paced guitar/bass battle working, but it’s the approach that changes things up. Rather than let the guitar create direction, it’s the vocals here (Sharp again) that dictate where the track will go. It’s almost a country-jam, though the pace might be too quick for that allusion. There’s also “Death Drive,” which combines some Mascis-esque vocal tones, but the drumming alone is something that allows this song to step outside of the shadows of their fore-fathers. Personally, I dig the juxtaposed vocals on this track between Sharp and Keith.
Of course, you’re going to have to pick your favorite singer between Sharp and Keith, and today, I’m sticking with Carrie. Her voice on the twangy “Fallen Sun Song” is one of her best, and the more I listen to it, the more I see a haunting darkness lurking beneath the soft cover. Or you can go back to “High Price to Pay” where she sounds more life-worn. Wherever she pops up, it’s with purpose, providing a distinctive sound that elevates the entire record. But, I assure you Dylan’s performances aren’t too shabby either.
Up until now I had really only been familiar with Dim Light, the group’s last album, but Hard Coming Down just continues to grow spiritually within me, especially when you bust out the vinyl version. Gun Outfit has been on the tip of everyone’s tongue, but this album secures the band’s spot as one of the brightest stars on the musical horizon.