Metz
M.E. 7’’
Sub Pop
2019
Rating: 7.5 wrong tires out of 10
On my list of things I never expected to hear, Metz covering Sparklhorse has to be near the top of the list, assuming such a list actually existed and I didn’t just make it up for the purposes of this dumb sentence. Apparently when a Canadian punk band tackles one of Mark Linkous’ rare upbeat tracks (“Pig”), you kinda almost get a Nirvana song. That actually makes sense when you think about it: Nirvana is exactly what you would expect when you combine noisy angst and weirdo introspection. The two other songs on this release are also covers – “I’m A Bug,” originally by Halo of Flies, which is no more interesting here than the original version; and the title track ”M.E.,” which most folks will know from the Gary Numan original, presented here in a scuzzier, more distorted format. Two out of three keepers – not bad for a grip of cover songs…I’ll take it.
Let it be noted: this is only a seven inch if you buy the Metz compilation “Automat,” as it is included as a bonus with that release (unclear if this inclusion was part of a limited edition release, or all releases). But Sub Pop also had the good smarts to also put out the seven inch as a stand alone digital single…I guess for those folks who are avid cover song collectors? Or dumbasses like me who only heard “Automat” via a definitely super legal download found randomly online that did not include these tracks.
Divine Fits
My Love Is Real 7''
Merge
2012
Rating: 7 goddamn sweaters out of 10
I'm racking my brain but I can't think of a supergroup in the last few decades that made a lasting impression...I suppose Gorillaz might be the closest, but that was really just Damon Albarn, some fake cartoon band members, and the occasional hip hop guest star. Or maybe Electronic is a better option? That duo Johnny Marr and Bernard Sumner always truck me more as just a new band they were in rather than a supergroup proper...it's a distinction that is in the eye of the beholder I suppose. Back in the sixties, those drugged out ding dongs formed these type of bands left and right...Blind Faith, CSNY, etc.
Divine Fits (Britt from Spoon, Dan from Wolf Parade/Handsome Furs, and Sam from New Bomb Turks) made a totally enjoyable record called "A Thing Called Divine Fits," but I couldn't tell you the last time I listened to it. I do know I liked it. The title track of this seven inch can also be found on that release, as is typical in these situations. I suppose the real draw of this wax is the b-side, "I Was Born In A Laundromat," a Camper Van Beethoven cover that is highly enjoyable. Is it worth making an effort to seek this out? If you're really into hearing Britt Daniel sing other people's songs, yes. It is a fine cover, and reminds me that I should try listening to Camper again...they didn't really take in my younger years despite being well regarded by my peers.
King Gizzard & The Lizard Wizard
Infest The Rats’ Nest
Flightless
2019
Rating: 9.5 nervous tables out of 10
There’s an overused idiom “If you don’t like the weather in [insert town/state/country name here], just wait ten minutes!” that every single person seems to think applies to whatever podunk town in which they grew up. However, the alternate version that says “If you don’t like the newest King Gizzard & The Lizard Wizard album, just wait ten minutes!” is incredibly truthful. The Giz release a lot of records, but unlike others of this ilk (I’m looking at you, Robert Pollard and Will Oldham) whose output is pretty stylistically similar, these Aussies put out entire albums that are all over the map. The last one I really loved was 2017’s “Murder Of The Universe,” a heavy, prog-laden rock opera about wizards or some nonsensical Flaming Lips-esque shit. Four rather forgettable records later, they have now gifted us with “Infest The Rats’ Nest,” possibly their best work ever depending on who you ask (if you ask me, the answer is yes). If you predicted this album would mostly be an homage to eighties-style thrash metal, you should be playing the lottery or the ponies. My best guess is they have a “Wheel of Fortune”-type wheel with all music genres listed on it, and then the band records an album of whatever style is randomly chosen. King Gizzard kick it off with the Metallica-like “Planet B,” later venture into Exodus territory with my personal favorite “Organ Farmer,” go a little bit more retro with the Black Sabbathy “Superbug” and Motorhead tribute “Venusian 2,”and last but not least enter the realm of Slayer with “Self-Immolate.” The nine song album is 35 minutes long, and I’ve listened to it from start to finish more times than I can count at this point – it’s akin to listening to a great metal mixtape, it just happens to be all from the same band. There’s no way this should work as well as it does from a bunch of Australian hipsters, but there is no hint of irony here – at least for this album, King Gizzard have genuinely become a metal band, and fuck me if “Infest The Rats’ Nest” isn’t the best heavy record of the year so far (my metal friends will definitely give me shit for this opinion, because no one applies more purity tests to their music than a goddamn metalhead).
Baroness
Gold & Grey
Abraxan Hymns
2019
Rating: 9 round wheels of cheese out of 10
In no way do I mean this as snarky, but most folks even consider Baroness a metal band anymore? Your estimation on what the band "is" might considerably color your feelings on the music they're currently releasing. They’re certainly still heavy live, but as a recorded release ”Gold & Grey” has more...uh, let's call it "dark folk" tracks than rockers, and the rockers that are there should be classified as proggy hard rock at best. Mind you, despite any quibbles over classification, this record fucking rules - the scope of the thing is epic. Front man (and only original member) John Baizley has damn near found the exact formula for blending heavy songs with pop sensibilities; more importantly, perhaps his greatest gift is finding quality individuals to replace departed band members. Sebastian Thomson has been with the group for a few years now, but I’m still going to mention him every time because it still blows my mind Baroness shares a drummer with Trans Am. And the most recent acquisition, Gina Gleason, should be an even bigger head scratcher as the bulk of her experience is from performing with Cirque du Soleil...that is until you see her live, where she proves herself to be one of the most impressive people I’ve ever seen play guitar in my entire life. Her skill and backing vocals add an extra layer the band has never had before. Baroness really show off their technical chops on tracks such as “Throw Me An Anchor” and “Seasons,” a couple of personal favorites. On first listen the plethora of "slow" songs might seem out of place on a record from this band, but it’s likely this duality that really makes the more upbeat numbers stand out so much. Baroness are truly post metal – not in terms of the "post metal" genre within the larger metal world, but rather that they have transcended the metal genre entirely and are now in their own world. No one else sounds like this – and if they tried, my guess is they would fail spectacularly.
Fruit Bats
Gold Past Life
Merge
2019
Rating: 7.5 face sprinklers out of 10
I’ve been in on the Fruit Bats for a long time, from their second album “Mouthfuls” until now, and I thought I had a pretty good handle on what to expect when Eric Johnson goes into the recording studio – he’s a man who has a great ear for catchy folk-pop with a heavy seventies AOR vibe. And that description would still fit much of “Gold Past Life,” their newest release. But what I wasn’t prepared for was the title track, which sounds as if the folk Era Bee Gees were covering the disco era Bee Gees. Fruit Bats have definitely had upbeat songs before, but not one that is quite so…dancey? I don’t think that’s a word, but the point conveys. If it were still the nineties this song would definitely get released as a single with dance mix versions on the b-side. There are a few other songs that are a little more upbeat than typical Fruit Bats material, and the album as a whole is really terrific, but man…the falsetto that Johnson breaks out for the track “Gold Past Life” is the earworm of all earworms this year, and even though it’s only one-eleventh of the release, it dominates my thinking about the whole damn thing. I guess if you’re going to have one song stand out so dramatically, it’s a good thing it’s damn enjoyable.
