FATANGRYMAN
FATANGRYMAN Muzai Records
Ash and the Matadors
The Mansion Tapes Self Released
Glass Vaults
Glass EP Sonorous Circle
As much as I went off at Nick Fulton for his blog post (einsteinmusicjournal.co.nz), I do actually agree that Fatangryman are, at times, a bit unimpressive as a live act. Their apparent lack of technical ability occasionally mars what could be excellent songs and it’s as frustrating for the audience as it must be for the band members. That said, every one of their sets has hinted at incredible potential begging to be mined and, with the guidance of “producer” Dan Speight and “savvy up-and-comers” MUZAI Records, they have created something that not only achieves this potential, but exceeds it to a point that I doubt anyone really expected. Srsly. This. EP. Rules. So. Hard. The irritating shyness that has hindered co-frontwomen Ary Jansen and Jessica Dew’s live singing in the past isn’t present on record. In fact, their dual vocals are what truly elevates this EP to next-level greatness. Equally as effective when they chant in unison (‘Wrapped In Plastic’) as they are when alternating and interlocking screams (‘Santa’s Lap’), these teenage girls constantly veer between eerily haunting and manically unhinged, all the while maintaining an air of genuine creepiness. Although, the droney half-word screams they often replace for lyrics gets grating by the end. Their songs reek with No-Wave-y discordance, and while they sometimes make good on their threats to devolve into an atonal mess, the chaos is controlled just enough for it not to be considered lazy songwriting. Reminiscent of Dunedin prog-punks TFF and even the tragically underrated Sharpie Crows at times … JUST ASEJRFJKLEN LISTEN TO IT OK.
With the Matadors’ opening moments of unconstrained leads and tasteful guitar fuzz you can’t help but reminisce on the ear-bleeding country of grunge-era Dinosaur Jr. Opening track ‘The Ballad of Cobh’ not only shines above the rest with valid hooks and a relaxed groove but in its succinct performance, the shortest soundbite in The Mansion Tapes. Confused and slightly taken aback by the vocal/feel transition that followed, I continued on to ‘Somebody’s Living’ in which a pleasingly grinding chorus, accompanied by infectious “Wo-hoo-hoos,” propels a solid track. ‘Amsterdam’ came across strongly, a return to a singer with strength. Unfortunately, this is not ‘Hotel California’ and multiple guitar solos for every verse cannot be condoned. In a similar vain, ‘Jesus Child’ contained so much extraneous content that the overall wealth of the song was damaged. This release tries valiantly to win over the listener but in reflection its attempts at lengthy anthems may be challenging for anyone without an attraction to their unique genre mix of country rock and Genesis-styled ‘80s pop. In this first release listeners will get a wellrounded, strongly competent taste of a fresh new Dunedin group.
I had listened to the first track from Wellington duo Glass Vaults’ (Richard Larsen and Rowan Pierce) debut EP a number of times in the past few weeks, for no apparent reason, but I had yet to progress onto the rest of the album. My loss. The opening track ‘They will grow’ layers synth, guitar, and reverb heavy vocals creating an expansive sonic landscape, which inevitably sets the groundwork for an engrossing sonic journey. However, the first track also undersells the duo’s ability as ‘Set Sail’ illustrates what they’re really capable of. Larsen’s vocals, both sentimental and haunting, bring a welcomed pop sensibility to the duo, while never weighing down the spacious ambiance that ‘They will grow’ establishes. Four minutes in and we get our first taste of percussion as thunderous drums resonate through the soundscape, leaving you desperate for more. The rest of the album puts percussion in centre-stage, with the third track ‘New space’ featuring a uplifting tribal stomp, while the track ‘Worrier’ utilises percussion more sparingly to develop an uneasy intensity as Larsen pleads “please don’t go.” As the album comes to a sombre but powerful end in ‘Forget me not’ Larsen mournfully admits “I know its over ... I hope you are happy alone,” accompanied only by a single drumbeat and an unsettling bed of synth. I implore you to not make the same mistake I did. Glass Vaults don’t give away all their tricks at once. Immerse yourself in this stunningly crafted album. It’s free to download at glassvaults.bandcamp.com
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