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“Wet Hair” – Japandroids
(Words: Brian King, music: Japandroids, available on Post-Nothing, Polyvinyl 2009) 

In between outbreaks of Animal Collective and Grizzly Bear hype, a noise-obsessed offshoot of skatepunk turned some heads.  I tried the Wavves album but couldn’t get past the murky aesthetic, so my burst of noise punk came via Japandroids Post-Nothing.  Guitarist Brian King and drummer David Prowse play off each other like two careening fireballs, trading rapid fire licks at a furious pace.  Songs like “Wet Hair” blast out of the speakers like a trebly mess of guitar and cymbals with both King and Prowse trading vocals – in this case, about pursuing unconventional girls.  Their limited lineup makes room for the chaos – King and Prowse can embellish their licks without crowding the mix because they are the complete show.  It gives King’s guitar room to feedback beneath his vocals and Prowse the excuse to go slightly overboard with his kick pedal. 

Still, there’s skill underneath the chaos – King seems to know his way around the Sonic Youth chord book, and Prowse spits out lightning fast hi-hat fills.  In this case, the technique takes a back seat to the exuberance.  The sing-songy repetition of the few lines (and the rocket propulsion of the riffs) make “Wet Hair” sound like a headrush.  It’s appropriate for the mix of lust and hedonism in the scant lines, giving it the kind of urgency that reminds me of late summer teenage hijinx.  Even if their performance on Jimmy Fallon last night wasn’t as over-the-top as I expected, it’s hard to deny that these two (and the crowd behind them) look like they’re having fun.

More on Japandroids: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: japandroids | polyvinyl | 2009 | 2000s | jimmy fallon |
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“Heart It Races” – Architecture in Helsinki
(Words/music: Cameron Bird and Architecture in Helsinki, available on Places Like This, Polyvinyl 2007)

For all of the over-analysis that people (especially people like me) lend to music, some music speaks to us on an instinctive level.  This is the great leveling power of music; a great piece can transcend culture and time in order to connect with people with little in common.  These works find the specific notes that convey a specific meaning.  Some parts might get lost in translation (complex lyrical images, for instance), but certain songs implicitly communicate with their audience.

“Heart It Races” works this way for me.  Even though the lyrics are in my native language, I have no clue what they’re singing in most of the lines, rendering any type of brilliant narrative or profound imagery useless for me.  Instead, I’m drawn to this song for two specific reasons.  First, the rhythm connects in a primal way.  It’s the type of thing that makes me want to bang along on my desk or on my leg – I know I’ve done this in public and I’m glad that I’m oblivious to the stares and weird looks from other people.  The band knows what they’re working with as well, as they’ve made the percussion punchy and impossible to ignore (not that you’d want to ignore it).  Still, it’s the melody along with this primal beat that makes “Heart It Races” work for me.  Even if I can’t understand they lyrics and the voices are a little shrill, the melody feels uplifting.  The whole thing sounds like a weirdly joyous incantation, where the band wants to have a good time.  You don’t need me to tell you this, as one listen will be enough to entice you to join in.

More on Architecture in Helsinki: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: architecture in helsinki | 2007 | 2000s | track analysis | polyvinyl |
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