Independent Clauses | n. —unusual words about underappreciated music

Battle Ave. creates an indie-rock maelstrom

September 4, 2011

It’s very telling that Kevin McMahon produced Battle Ave.‘s War Paint, as McMahon had a hand in both Titus Andronicus releases, work by The Walkmen and Frightened Rabbit’s The Midnight Organ Fight. Each of these bands feature an extremely emotional singer going nuts in an atypical musical setting, and War Paint is not outside McMahon’s oeuvre in that regard.

Battle Ave’s unhinged frontman is Jesse Alexander, whose anguished voice ranges from indignant slurring to full-on roar. It’s highly reminescent of Patrick Stickles’ voice (Titus Andronicus). But instead of couching it in a workingman’s punk ethos, Battle Ave. sets Alexander in the midst of an indie-rock maelstrom.

The band can get just as furious and frantic as TA (“Whose Hands Are These?”, every other song on the album), but the bands start at different ends of the spectrum. Andronicus’ pathos comes after a calming down of rage, while Battle Ave ratchets up to a cacophony.

Battle Ave. strangely calls to mind the band that Patrick Stickles least likes to be compared to: Bright Eyes. Those who love the catharsis of “Road to Joy” and the conviction of tunes like “Train Underwater” and “Another Traveling Song” will find emotional analogues here, especially in the gorgeous, horn-filled “Complications w/The Home (Hernia)”. Most of BA’s tunes blow up past the heavy end of “Road to Joy” at their apex, but you’ll feel a similar emotional connection.

In stark contrast to I’m Wide Awake, It’s Morning, however, the songs sprawl all over the place. Their length and seeming formlessness (exactly zero choruses) call to mind Braids’ Native Speaker, although these guitars definitely go to 11 (“Puke Lust”). Because of that, it’s a tough album to grab onto. It’s not designed to be catchy, nor is it organized in easily digestible bits. This is art. The band is saying something, and if that’s not your thing, then this isn’t your thing.

Thanks to the vocal delivery, however, it’s difficult to make out what the point is. Track titles, album art and snatches of lyrics here and there make out the beginnings of a picture, but this (like The Monitor) is an album to which listeners should dedicate time. That’s an incredible artistic risk in this day and age, but I believe music is worth that, so time it will get (from me, at least).

I realize that I’ve spent less time describing songs and sounds than I usually do. I can explain that “Complications w/Traveling” is a noise-laden dream dirge, but that doesn’t make a lot of sense. Battle Ave.’s compositions are pretty unique, so I don’t want to waste time explaining every detail. I do, however, want to convince the people who might listen to it that they should – and the import of the album is the best way to discuss that.

The album really does have weight. The guitar tones and styles lend the album a cohesive feel, even when the band incorporates carnivalesque rhythms (as in the standout, 10-minute “”K. Divorce” (For Mildred)”). This was painstakingly written, crafted and ordered, and as a result War Paint is one of the most interesting indie-rock albums I’ve heard all year. If you’re into noisy indie-rock as art, then you should do yourself a favor and pick up Battle Ave.’s latest – you’ll find many moments of bliss.

Download the whole thing for free here.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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