The Mast’s New Album Wild Poppies Is Unselfconsciously Intense
New York rock duo the Mast’s latest album Wild Poppies blends elements of minimalism, dark 80s rock, goth and trip-hop into a pensive, completely original sound. Frontwoman/multi-instrumentalist Haale writes darkly psychedelic, briskly rhythmic rock songs, backed by one-man percussion orchestra Matt Kilmer. In her previous work, Haale has explored classical Iranian melodies as well scorching, hypnotic, frequently exhilarating Jimi Hendrix-inspired jams. This time, while she pulls back on the volume, the songs are often just as intense and eclectic.
The album’s title track sets a bracingly catchy progression over rolling, rippling percussion and a characteristically surreal, imagistic lyric. The second cut, the sardonically titled Trump, is something of a dreampop take on Joy Division, or like early 90s Lush but with a more gritty, earthy vibe. Most of these songs use a lot of nature imagery: this one’s the most intense. “Oh some pockets run so deep, the rest are struggling for a piece of a fast-turning pie…the waters while we sleep are being bought up by a thief with paper bills for eyes,” Haale sings apprehensively.
EOA [End of Anxiety] shuffles eerily and minimalistically, like an analog version of Radiohead, its mantra-like hook shifting between major and minor modes. My All is hypnotic, minimalist trip-hop with a majestic post-Velvets processional pulse; Prize, a warped, syncopated one-chord boogie, winds down plaintively and hauntingly on the chorus. With its repetitive central riff and insistent 80s-style bass, The Lake builds to a potent crescendo with guitars slamming over a whirlwind of beats. Setting lush, ethereal vocals over yet another catchy, simple guitar riff and a stately shuffle beat (sounds like an oxymoron, but Kilmer pulls it off elegantly), Definitions wouldn’t be out of place on a Randi Russo album from about five years ago.
Hummingbird picks up the pace with fuzz bass and the vocals fading in and out, dreampop style, Kilmer rattling and then hitting some swirling cymbal crashes early on. Lucid Dream, a minimalist, moody early 90s style anthem, builds to a big, intense, anthemic outro. Carefully and tersely crafted, the album grows on you and carries even more of an impact with repeated listening: count this as one of 2011’s best. The whole thing is streaming at the band’s site. The Mast are great live: they’re at Bar 4 in Park Slope at 9 on 7/28.
Album of the Day 8/18/10
Every day, we count down the 1000 best albums of all time all the way to #1. Wednesday’s album is #895:
Lush – Split
Their sound defined the end of an era. Miki Berenyi and Emma Anderson wrote dark, richly melodic rock songs with layers of watery, chorus-box guitar and ethereal vocals. This is their third album, from 1994, and it’s their best, a blend of every style they did so well: Kiss Chase, with its tricky time signature and murky, chilly Siouxsie guitar; the punk stomp of Blackout; the buzzy goth pop of Hypocrite and The Invisible Man; the Cure-inflected, bassy sway of Lovelife; the somber Joy Division tones of Desire Lines, Undertow and Never-Never; the straight-up dreampop of Lit Up and Starlust and the understatedly elegaic When I Die. The press tagged them as sort of the Go-Go’s of dreampop, and went nuts over their first album, which actually isn’t all that great: after a couple of songs, they all sound the same. But Spooky, their second album, from 1992, is very worth getting to know, as is their final one, Lovelife, from 1996, which although it went more in a punk-pop direction also varied their sonic palette considerably, allowing both more aggressive guitar and an unexpected sense of humor to creep in. The band broke up shortly thereafter in the wake of drummer Chris Acland’s suicide. Here’s a torrent for all of them.
The Walking Hellos’ Debut Album is Delicious
The Walking Hellos’ new album Because I Wanted to Know is unpredictable, counterintuitive, tuneful fun. It’s a blast of rosemary cayenne popcorn flavor from down the hall. It makes you ravenously hungry. This band would have been huge in 1989. With their clear, sweet, sometimes chirpy, sometimes hypnotically atmospheric harmonies, the all-female, four-piece Brooklyn band reminds a lot of Lush, with the guitar-fueled, insistent intensity of the Throwing Muses and some growling, snapping Slits rhythm as well. Accordionist/banjoist Myla Goldberg (novelist and author of Bee Season, which earned her a song dedicated to her by the Decemberists), guitarist and occasional Pauline Oliveros collaborator Val Opielski, bassist Rose Thomson and drummer Heather Wagner shift unexpectedly and joyously from one style from another with an understated aplomb.
The album’s opening track, Botched contrasts woozy, out-of-focus slide guitar on the verse with an eerie, crescendoing chorus with goth tinges. The second cut, Little Boys is even creepier and explodes in sudden fireball of distorted guitar. The title track grows from a lot sparsely populated by hypnotic, reverberating guitar textures to an orchard of vocals and accordion – and a neat little bridge with some sort of wind instrument. “”I know how to do this, I know how to disappear, I’ve been on this job a thousand years,” Goldberg relates mysteriously.
Undertow 1 and Winter Remedy are cleverly arranged, dreampop-flavored numbers that contrast shimmery harmonies with Thomson’s marvelously trebly, gear-grinding, melodic Jean-Jacques Brunel-ish basslines. Lane 5 – unquestionably the coolest song ever set in a swimming pool – starts gentle and summery and goes out with a long yet terse distorted guitar solo. The album winds up with a percussively hypnotic, wickedly catchy, blazing dreampop rocker, an echoey instrumental fragment, the early Lush soundalike The Unloved and a dub-hop instrumental, Lane 5 After Hours. Wow. It’s been awhile since a band has packed so much fun into forty minutes or so. Look for this one on our upcoming Best Albums of 2010 list in December.
Lucid Culture 