There was a time when ‘alternative’ meant something. The Stooges, occasionally theorized as the first ‘alternative’ band, were so named because they were not quick rock and not quite punk, and thus were labelled with an altogether new term, announcing them as quite literally an alternative to either of those common cores. Eventually, ‘alternative’ came to mean a genre all of its own, with its own conventions and hang-ups and devotees, and ultimately, lifespan. Fast forward some years after the popular death of alternative, and the word has been reclaimed back to its original meaning. Thus we find Dead Poet Society and their album “-!-.” Meet the new alternative.
Dead Poet Society reminds in many ways of the versatility
and variability of last year’s excellent Mollo Rilla album “Viva El Camino,”
with the notable and important exception that DPS replaces the alcohol-infused,
jaunty swagger with a dire, broken-glass heroin trip, which is meant as a
compliment. The scary, shambling thud of
“.SALT.” is so deep with bass as to bring memories of Soundgarden’s “4th
of July,” and the lyrical content is just as sparse and haunting.
The dichotomy of the thin vocals of Jack Underkofler against
the backdrop of a churning, guitar blast furnace is the real story with “-!-“
and both parts are necessary if the album is to have its intended teeth. When Underkofler chooses to go into the dark
spaces, there is a genuine feeling of discomfort, a tangible unsettling of the
nerves as the band thuds out power chords while his vocals feel lithium-high,
like a singer from a different song, disaffected and disassociated with the
band behind him. Yet, as with the
album’s star cut “.intoodeep.,” it’s impossible to imagine what that alternate
song could sound like. The performance
is like a piece from another puzzle that happens to fit into this one
masterfully.
For all the experimentation and unique aural combinations of
the album, the dirty secret here is that Dead Poet Society has pulled entire
chapters out of the old alternative playbook.
That’s not an insult – it’s a testament to a level of study and mastery
that few bands with so little popular history can employ. Closing the eyes and concentrating, it’s not
so hard to strip the jagged distortion and profanity from “.burymewhole.” and
hear a song that would feel just as at home on a Toadies record.
As is part and parcel with alternative rock albums, there
are a couple of throwaway ballads; others will no doubt laud them for their
sincerity and earnest expression of confused, youthful emotion, but there’s
nothing to be said about them that hasn’t been said about any ballad or
emotional tune written by a rock artist over the last seventy years. There are as they are – a necessary change of
pace on the album? Sure, why not. And
while there’s nothing wrong with that, those same songs also fit much more
cleanly into the common molds of alternative rock, so it’s also the limit of
the weight they can carry.
There may end up being some territorial pissing here – rock fans may say the album is theirs, and same goes for metal fans and alternative fans, the last of whom had been presumed dead for much of the last decade. More likely, as the fans of those genres are fit to do, there will be arguments for why “-!-“ ISN’T a welcome addition to their genre’s stable. Those arguments are myopic and frankly stupid, and miss the point of creative music as an experience.
All that is said to say this; in the last fifteen months or
so, there’s been a creeping tide of bands who are completely oblivious to the
mores of genre convention, and that same rising crest has been absolutely to
the benefit of music listeners everywhere.
The best moments in the discovery of new music are when a listener can
say “I haven’t heard someone do that before,” and this is the same lofty
space we find Dead Poet Society occupying.
Add in the fact that this marks the band’s full-length debut, and “-!-“
is not only one worth adding to the shelves, but an optimistic harbinger of the
band’s future.
No comments:
Post a Comment