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Oooohhh!
I like left off field. Weird is always good. More satisfying
than complying to the status quo any month of the year, any day
of the week. Even if you suck smelly ass. It is still better.
Far better. Even if no artistry went into it. Even if the
recording reveals a complete lack of talent. Even if therefore,
your best song sounds like a lucky strike. The luck of the
fucker that hastily put together a catchy song. Even if it all
sounds like a half-assed attempt at creating something original.
Hell, at least you are trying with the most difficult medium. I
know that if I was attempting to achieve rock stardom I’d go for
an easier angle; maybe I’d play some metalcore. Or some emo
riddled shit, dual vocals included for maximum exposure. Or some
guitar strummed pop friendly indie rock. Or some countrified
blues rocking rock. Or, I’d reduce my line up to a two piece for
maximum profit sharing and White Stripes hip-ability. Or some
bald headed futuristic math metal a la early Dillinger
Escape Plan. About the last one I can say, what the fuck is up
with all these youngsters playing it like is all about
virtuosity? It is not.
Anyway, the
true question is; is Shellshag too soft for Deaf Sparrow? Not
really. There is a soft quality to them that almost kicks them
out of the equation but they have enough weirdness, enough rock
guitars, enough zest, enough rock value, enough distortion to
make them Deaf Sparrow worthy. And what is Deaf Sparrow worthy?
Fuck, nearly everything as long as it is heavy and/or weird
(read: a tag that can be generalized as ‘experimental’)
which is precisely where I would place this Co-Ed Brooklyn duo.
Who by the way go their way distorting their slow tunes at the
pace of a Down boy, and who even go a bit bluesy via the
charming vocal bravado of the guy in “Right and Wrong” and who,
if we go by the law of Co-Ed duos, should also provide the
guitar work. Some of Destroy Me I’m Yours is quite
dandy. Unsurprisingly, its best parts do not come in the first
handful of songs, which might put off those impatient ones. I am
more into the sadness of “Bill Badgley, Please Don’t Let Me Fade
Away” or into the Kim Deal-like sweetness of “Make Love”. That I
dig a great deal.
MySpace
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