by: Angela Zimmerman
War on Drugs
Wagonwheel Blues
(Secretly Canadian, 2008)
Another day, another band from Philadelphia making its way to the headphones of music lovers across the land… Philly has always boasted a capital music scene with its rich soul foundation, but it seems like the city has risen quickly over the past few years by way of its burgeoning indie rock community, churning out legions of solid bands—some roots-based, some experimental, some folky, some urban, some noisy, some ambient, some of everything.
War on Drugs is a Philly band that embraces two counterpoints in the local rock scene flourishing around them—a folk aesthetic amid sprawling sonic experimentation. The six-piece straddles this dichotomy in their debut, Wagonwheel Blues. They tap into roots of fellow down-home American songwriters like Springsteen and Petty, but within this lyrical context of conceptual landscapes and social themes, War on Drugs also gets spacious and atmospheric, with studio tricks and a post-rock polish that makes this album a well-executed—and successful—experiment. Balancing folk rock like “Taking the Farm” against more ethereal tracks like “Show Me the Coast” gives the album with a well-rounded approach that avoids sounding disjointed—though it’s Granduciel’s more lyrically grounded folk compositions that provide the backbone. In search of atmosphere, a listener is more likely to reach for My Bloody Valentine or Spaceman 3. But it’s that fearless extension into more progressive territory that provides this album its resonance.
The folk rock “Arms Like Boulders” is the first song, and initially seems to suggest that the rest of the album will follow suit. Granduciel’s Dylan-esque vocal phrasing and harmonica-driven intro set a tone, catering to that folky aesthetic. The lyrics are somewhat existential: “Your god is only a catapult / Waiting for the right time to let you go / Into the unknown just to watch you hold your breath / Yes, surrender your fortress / And your thoughts will tumble like rocks too… / And you’re, you’re the kind to hide your eyes from the sun / And in your world the strong survive / But I wont take my body down.”
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by: Benjamin Dominici
The United States of America
Self-titled
(Columbia, 1968)
“Avant garde, neo-classical musicians making rock music, you say? No way!”
That was the idea behind the United States of America’s sole, self-titled album, and the results were and are unexpectedly accessible. The music is oftentimes unpredictable and eerie, and yet never too difficult or alienating. There is no guitar, and yet the core instruments (electric violin, various keyboards, bass and percussion) create a fully-formed sound. Lead vocalist Dorothy Moskowitz gives a hauntingly beautiful performance throughout the album’s 10 tracks. Principle composer and group leader, Joseph Byrd, in addition to handling the “various keyboards” mentioned above (that includes electric harpsichord, organ, calliope and piano) adds electronic textures with a primitive synthesizer—sometimes brought to the forefront of the satirically Sousa-esque interludes between songs, often used to subtly create an unearthly atmosphere.
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War on Drugs
by: Angela Zimmerman
Wagonwheel Blues
(Secretly Canadian, 2008)
Another day, another band from Philadelphia making its way to the headphones of music lovers across the land… Philly has always boasted a capital music scene with its rich soul foundation, but it seems like the city has risen quickly over the past few years by way of its burgeoning indie rock community, churning out legions of solid bands—some roots-based, some experimental, some folky, some urban, some noisy, some ambient, some of everything.
War on Drugs is a Philly band that embraces two counterpoints in the local rock scene flourishing around them—a folk aesthetic amid sprawling sonic experimentation. The six-piece straddles this dichotomy in their debut, Wagonwheel Blues. They tap into roots of fellow down-home American songwriters like Springsteen and Petty, but within this lyrical context of conceptual landscapes and social themes, War on Drugs also gets spacious and atmospheric, with studio tricks and a post-rock polish that makes this album a well-executed—and successful—experiment. Balancing folk rock like “Taking the Farm” against more ethereal tracks like “Show Me the Coast” gives the album with a well-rounded approach that avoids sounding disjointed—though it’s Granduciel’s more lyrically grounded folk compositions that provide the backbone. In search of atmosphere, a listener is more likely to reach for My Bloody Valentine or Spaceman 3. But it’s that fearless extension into more progressive territory that provides this album its resonance.
The folk rock “Arms Like Boulders” is the first song, and initially seems to suggest that the rest of the album will follow suit. Granduciel’s Dylan-esque vocal phrasing and harmonica-driven intro set a tone, catering to that folky aesthetic. The lyrics are somewhat existential: “Your god is only a catapult / Waiting for the right time to let you go / Into the unknown just to watch you hold your breath / Yes, surrender your fortress / And your thoughts will tumble like rocks too… / And you’re, you’re the kind to hide your eyes from the sun / And in your world the strong survive / But I wont take my body down.”
read more
by: Angela Zimmerman
published: June 25, 2008
in column: Reviews
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