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Despondency never sounded this thrilling. Strong melodies are present throughout-all three Goon Sax members are able pop writers-but this is an indie rock record where bass and drums convey the strongest melodies, and the guitar chords don’t matter as long as they are strummed with power and feeling. You can hear snatches of The Raincoats’ frenetic outsider punk, Pere Ubu’s angular grooves, and Jens Lekman’s acerbic lyrical sensibilities in the mix. And while it may seem to gesture toward tweeness on paper, the record synthesizes a host of influences that are refreshingly unexpected.
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We’re Not Talking is a masterpiece of adrenal, emotional carnage the trio display a keen sense of how to write about heartbreak and hardship in a way that’s neither whiny nor trite. Throughout, guitarist Louis Forster sings as if through a grimace, and bassist James Harrison and drummer Riley Jones utter their lines with a quieter, but no less downcast, tone. Brief moments of peace can be found amongst the din on the record’s slower tracks like “Losing Myself” and “Somewhere in Between,” but for the most part, We’re Not Talking’s stories of heartbreak and self-loathing clatter and sprint. On the prodigal Brisbane trio’s second record, tempos race and bass lines pound violins screech with the coarseness of car alarms. It is unexpected for an indie pop record to sound as violent as The Goon Sax’s We’re Not Talking. Who knows: You might end up shouting along to “Trouble” onstage. There are comedown ballads aplenty (such as the album’s ramshackle sailor-song of a closer, where they boys sing the words “Together’s the best place to be” in hoarse unison), but you’re probably going to want to put this one on when you’re getting ready to go out.
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Chris Bailoni and Clay Frankel take the most heart-skipping synth melodies from Low Life-era New Order, the most charmingly lazy guitar chords that The Band ever strummed, and the crack in your voice that happens when you’ve been talking too long at a crowded bar, and distill them into an actual sound-one that seems to be perpetually on the verge of keeling over, even on the level of each individual synth note. Grapetooth is light on fuss and big on easy thrills. The “red” theme extends to the Chicago synths-and-vox duo’s name, which refers to what happens to your teeth when you imbibe fermented grape juice, and should give you some idea of what you’re in for with their self-titled debut. It’s the sort of lighting choice you might use when you’re hosting a party at your post-collegiate apartment and trying to obscure the smudges on the walls. Grapetooth has a song called “Red Wine,” and the video for it opens with a shot of an interior illuminated by a red light bulb.