The Gumshoe Grove

Don’t look now but I think some post-metal motherfuckers are finally willing to invest in more than a passing interest in noise/experimental persuasion.

The Grasshopper Lies Steady do, anyway, while God Townes (I’m guessing that’s a Van Zandt reference) remain more ‘in the pocket’ and suffer for it on “Big Branch,” sounding almost slow-motion, the vocals perpetually encased in amber despite a decent chorus and the traditional J Mascis infatuation.

Back to Grasshoppah: “Sucker” is the logical point where Melvins meets Merzbow. I’m not saying they hang out all day; they get acquainted and go their separate ways. “Sucker” isn’t constantly swamped by high-pitched squeals and static drift, but it’s engulfed enough to stand out among a horde of heavy bands that dare not move beyond using synths. I flashed back to Race Car Riot (remember that three-way split with Planes Mistaken For Stars and Appleseed Cast?) for a second there, as they had a similar penchant for instrumentals that don’tfeellike instrumentals. Then comes the squall of noise I mentioned before, and we’re done.

Then comes “Dead Songs for Dead Bands,” which is even better. This might be where Pelican should have gone afterAustralasia (in fact I was just talking to a buddy about where that band went wrong), all sprawling and swooping before huddling in a pool of noise. By the way, I mention two songs despite the fact that only one is on the 7-inch itself because this is one-a them half-vinyl, half-digital releases. Hey, go for it!

Looks like you can pick up blue, yellow or red copies, though I’m guessing at least one of the colors is unavailable at this point.