Who can really know what shoegazing is? Many people, apparently. I’ve had it explained to me, that it’s sort of a catch all term for a group of musicians that sorta rotate through one another, passing recording session and live players around like a hashpipe. One explanation of the actual phrase “shoegaze” refers to singers literally staring down at lyrics on the stage at foot level. A great deal of the time, there’s also a lot of effects pedals employed as well. Gotta get that fuzz, gotta sound like that Sexual Robot.
Nowadays your big ticket examples will look like Beach House or HEALTH. Beyond that, the love of effects pedals and this sorta Fear Of Death look in these cats eyes will endure for time immemorial for nerdy looking folks singing songs about horses and roses, or two men kissing. As God Intended.
We’ll be looking at and saying callous things in addition to making really reaching excuses for insights into this music.
Overhold – Overhold EP
This self titled album from Overhold is really sludgey. Singer Jonathan Rosado seems to be employing a a lower pitch take on shoegaze vocals, with technique not unlike Chino Moreno of Deftones on some tracks. In particular, on the second track “Hush”, some of the riffs and breakdowns have more bounce and joviality than another band they sound dangerously similar to: Wavves. The track “Polite” is really, really guilty of sounding like an Afraid of Heights outtake. Its fantastic and fun. All in all, enjoyable. If I were to try and give a snarky but apt compliment I’d say “Toxic Dump Beach Wavves”.
“Do we understand what this dude is saying?” –
No. Not at all. Phonetically it comes out like “hessbuh, THE ROOOSE-DAY”.
Is it a clever reference to thanksgiving? Roose Bolton from Game of Thrones?
Is this an ARG for that new Game of Thrones book?
mewithoutYou – Pale Horses
Whew. The album seems heavily influenced by the trope of The Unreliable Narrator employed in a western setting. You know, like if Sam Elliot started screaming in shrill East Cost Hardcore, to bookend some nasally vocals. The funkier songs, like “Blue Hen”, break up the more monotonous tracks like “D-Minor”. “Blue Hen” sounds like a band invited was invited to play a set at a bowling alley and they all got smashed and had an amazing meltdown. Not as a stab against their musicianship, but rather, taking note of the really downplayed drums and rhythm bass. “Red Cow” sorta confirms the invocation of the trope. This track was a bit too serious for my tastes.
I feel like this is an album that will accompany your really bad moments.