Genre mash-ups are the way of the future, if Steven Hyden’s reading of music’s trajectory is to be believed. (I believe it.) But where Hyden thinks that we’re headed for “a future where all music sounds like everything at once” and nothing is distinctive, Sloth provides a counter-argument. Sloth‘s Out + Out combines alt-country, slackerish ’90s indie, gritty garage-rock and tons more to create a sound all its own. Instead of being a mishmash, the inventive results are a gripping listen.
The sheer number of ideas on Out + Out is head-spinning. In taking sonic elements, songwriting conventions, riff styles, and attitudes from a variety of styles, it seems that lead songwriter Seth Nathan has no end of new elements to include. Opener “Every Circle” starts off with a squalling guitars and ominous cymbal splashes before leaping into a lumbering rock guitar line counterpointed by frantic bass guitar work. A snap change to the verse ushers in a new section entirely: easygoing vocal delivery, lean-back drumming, mellowed-out background vocals. The chorus and the post-chorus instrumental section amp up the rock again. Instead of feeling disjointed, it feels like it fits in the alt-country milieu of rapid starts and stops. It’s the sort of song that sounds improbable in text but just works when you hear it. Trust me on this one.
The wild arrangements don’t let down after that first tune. “Montana” combines spidery lead guitar with alt-country backline and an artsy bridge; “Live For Beauty” has some tropical vibes thrown into the guitar along with a snare shuffle and hectic bass riffing. (Bassist Frank Cicciarello deserves mad props not just here, but everywhere on the album.) “I Wanna Move (to Portland)” marries the cascading guitars of the previous song to the laid-back indie-rock vibes at the beginning, but morphs into an even wilder experience: a brief interlude that’s nearly calypso in tone and rhythm leads into an abstract, dissonant art-rock section that reminds me of Minus the Bear in a really bad mood. Then it segues into a grumbling-yet-funky post-punk thing. It gets more and more complex from there (!). It’s a mind-bending, thought-provoking, brilliant song. Just this tune alone could merit its own review.
There are some moments of sonic breath: “Staring at the Sun” is a walking-speed ballad, while “What You See” follows up “I Wanna Move (To Portland)” with a relatively straightforward mid-tempo rock song (albeit with brittle, damaged guitar solos like something out of Tom Morello’s oeuvre). They show that while Sloth can get experimental with the best of them, they can also knock a traditional structure out of the park. Sloth packs more into the 25 minutes of Out + Out than some bands can get in twice that long. If you’re up for an adventurous, out-of-the-box listen, Sloth’s Out + Out should give you quite a trip.