2009 has been all about the little things. One guy, working alone with a microphone, a guitar, a computer and some drums. A whole lot of overdrive. That is the story of critically divisive California noise-rock upstart Wavves. Then there is all the buzz surrounding the supposed ‘next big thing:’ glo-fi. Or chill wave. Artists like Memory Tapes, Washed Out and Neon Indian are being paid a lot of attention right now largely on the basis of some vaguely descriptive adjectives that often don’t effectively match the material they are being associated with. Neon Indian, for instance, isn’t particularly lo-fi. But is it glo-fi? Or is it chill wave? Is there supposed to be a difference? The whole movement reeks of disco-punk all over again. So where is this fad’s incarnation of The Rapture? Where does DFA figurehead James Murphy weigh in on the new craze? Perhaps he, like many of us, has truly lost his edge in the torrent of new DIY acts cropping up like insatiable weeds along the musical landscape. Every day another net-head suddenly figures out how to properly navigate their pirated copy of Ableton Live. The internet is awash in VST synthesizer plug ins, drum machine emulators, samples and loops. Just as when it suddenly became affordable and cool to purchase multi-track recording equipment and cut that Guided By Voices record all by yourself, it has now become incredibly easy for the studio musician to craft and mold their product out of the home, and on their own time. Hell, it saves gas money, too! Even indie favorites Animal Collective have described their creative process as the sharing and mingling of home-crafted ideas across continents via the internet. Is there a saturation point for the new DIY aesthetic? How many different bands can there be at any given time? Is the current wave of lo-fi artists pioneering a new sound? Or are they simply not experienced at mixing and mastering a record properly?
Upon hearing the first few bars of Bear In Heaven’s Beast Rest Forth Mouth, it is abundantly clear that lo-fi is not the order of the day here. Emphatic opening anthem “Beast In Peace” immediately demands the listener crank the volume, not reach for the EQ. The verse is all Yes and King Crimson, but the chorus is the payoff here, evoking Brian Eno’s “Needles In the Camel’s Eye” overdubbed a dozen times, and the result is big, loud and absolutely gorgeous. Jon Philpot’s vocals are the initial draw here, demonstrating very effectively the notion that the mark of a great singer is not necessarily the ability to stay on top of the music, but versatility in using the voice as an instrument.
Upon first listen, it might be difficult to get past the album’s fourth track, “Lovesick Teenagers.” Clearly the record’s highlight, this little gem of an anthem is a lot of song at just over three minutes, and it just begs to be put on repeat. It could even be seen as a flaw, if viewed as a premature catchy center to an often generically elusive collection of proggy, reverb-drenched psychedelic synth freakouts. After hearing “Lovesick Teenagers,” it was initially a disappointment to discover nothing quite so fresh, catchy or radio ready on the rest of the album. The track proved to be an unwelcome distraction after a while, skewing any opinions of the album as a whole with its obvious distinction in style and focus. But in the end, that would be like calling Embryonic a terrible album because nothing was quite as catchy as “Watching the Planets.” Such is simply not the case. Beast Rest Forth Mouth only suffers slightly for its decidedly unfocused explorations, with many of the tracks proving to be growers instead of showers. By the closing moments of the album, however, the band reveals themselves to be quite self-aware, via the risky maneuver of reprising a verse and a chorus of “Lovesick Teenagers” right in the middle of album closer “Casual Goodbye.” The risk pays off, the irony being that, on its own, “Casual Goodbye” could have been the next catchiest tune on the album even without the unexpected reprise.
The best records, in this writer’s opinion, are the unexpected treasures that open doors for the listener to sonic landscapes they may have been hesitant to explore or ultimately embrace. Huge, overwhelming power pop anthems have never really been my cup of tea. Nor have I ever enjoyed music that seemed to err dangerously on the side of “emo.” Prog rock, well, always seemed a little bit too nerdy. Like the fantasy genre of music. Yet here is an album that is comprised mainly of elements familiar to all the aforementioned categories. Huge, booming choruses; strange, snaky prog compositions. Not to mention “Lovesick Teenagers,” a track which, despite being undeniably emo, is quite possibly this writer’s favorite song of the year.
Track List:
1. Beast In Peace (4:17)
2. Wholehearted Mess (3:02)
3. You Do You (3:44)
4. Lovesick Teenagers (3:16)
5. Ultimate Satisfaction (4:26)
6. Dust Cloud (5:58)
7. Drug A Wheel (3:14)
8. Deafening Love (4:54)
9. Fake Out (3:14)
10. Casual Goodbye (4:11)
