Independent Clauses | n. —unusual words about underappreciated music

The Typist's Midwestern rock and lyrics resonate

January 11, 2012

With that big ‘ol space in my heart for pop-punk, I am drawn by charging guitars and restless youth sounding Whitman’s “barbaric yawp over the roofs of the world.” It’s not pop-punk, but The Typist‘s Midwestern High Life has both in spades.

The Oklahoma four-piece’s debut has a lot of promise in it, as well as a lot of homages to their influences (hello, cover art). And although they also mention “the taxman” in the almost-title track “Midwest,” their love of the Beatles is more in connection with their dedication to the hard work of songwriting than any particular musical inferences. Their songs temper the pop-punk tropes of uncontrollable enthusiasm and huge guitar sound with a dose of determined populism that lands the band close to both the wide-open Midwestern rock sound (old-school Wilco, Mellencamp, Horse Thief) and Midwestern folk lyrical tradition (Woody Guthrie, Bob “People forget I’m from rural Minnesota” Dylan, etc.).

The melodies are appropriately huge; it sounds like the members know how to rile up a crowd. “Gone Gone Gone” features rumbling toms, blaring organ and group vocals, while opener “Let Me Live” employs the same basic elements but with a bell kit on top of it for charm. The verses of the latter cut to tom rolls, sleigh bells and nakedly honest vocals, and I am not kidding when I say they make me miss Oklahoma something fierce. It’s a dangerous move for a band to put its best track first, but man, “Let Me Live” absolutely knocks it out from the get go.

Their aforementioned populist strain is on full display: “All I know is the American Dream / All I know is what I see on TV / All I know is the American Dream / All I know is what I can’t reach” in “Connecticut to Paris (I Don’t Know)”; “The taxman came to my home / Said we might have to foreclose / But I said this is where I’ve spent my whole life” in “Midwest”; and “My God I’ve got to find a better way / Before I suffer Gatsby’s fate” in “Gone Gone Gone.” If you dig it, you dig it – that’s all there is to it.

The Typist is a young band composed of seasoned vets, and it shows: their careful attention to detail in the arrangements allows the entire album to flow in one consistent mood. This is a double-edged sword: it’s easy to hear in one sitting, but it’s a bit tough to distinguish between songs toward the end of the album. As individual tracks, nearly every song works, but they all work for the same exact reason. As the band grows over time and gets more comfortable with its chemistry, I expect some more melodic and rhythmic variation. This will greatly improve the overall experience and produce some even more interesting tunes.

Midwestern High Life is quite a rocking start for The Typist. I thoroughly expect to hear more from this outfit, as their energy, passion, and understanding of both historical lyrics and songwriting have me excited.

Ash Gray and Girls steal everything and make new songs out of it, much to the ears' delight

March 12, 2010

I’ve always enjoyed the name Pop Will Eat Itself. I’ve never heard a single song by them (although the tune “Get the Girl! Kill the Baddies!” sounds awesome), but their name has been about as prophetic as MTV’s ominous and prescient first choice of music video. Pop certainly has started eating itself. Example: I had a yelling fight with a close relation over the fact that Imogen Heap, not Jason DeRulo, wrote the hook to DeRulo’s “Whatcha Say.” It was a low point in music history for me.

But DeRulo’s thievery (thievery, I say!) is different than Ash Gray and Girls’ reinventing of pop. They’re both eating pop music, but DeRulo’s not even chewing, while Ash Gray is messing the peas and mashed potatoes on the plate before it even gets to the mouth. Okay, enough with that analogy.

Ash Gray and Girls is a pop band that sounds a little bit like all of these people: Bruce Springsteen, Lou Reed, Garth Brooks, Fleetwood Mac, Heart, America, Neil Young, the Clash, and the B-52s. There is absolutely nothing here that hasn’t been done before. But that doesn’t matter, because Ash Gray has taken all the pieces of pop music and put them together in odd ways. “Your Gun is Out” is the Clash playing with the B-52s singing. “Rock’n’Roll Record” sounds like Heart’s “Barracuda” being played by John Cougar Mellencamp. “Fire Away” sounds like Garth Brooks fronted by Neil Young. These are all great songs.

The only thing holding these tunes together is Ash Gray’s acoustic guitar, which is almost omnipresent, and a bright tone to all of the proceedings. There are also plenty of female backup vocals (I assume these are Girls of the band name).¬† There’s only seven songs on This Could Be a Wild Night, but each is its own adventure, from a face-melting guitar solo (“Fire Away”) to the Lou Reed impersonation that is “Rules.”

Ash Gray and Girls is the type of band that gets everyone in the bar dancing because they remind them of some other band that they usually shake their moneymaker to. Ash Gray seems to have recognized this and capitalized on it, yanking shtick after shtick and combining them into memorable songs. Ash Gray and Girls seem to have become the acoustic pop version of Girl Talk, jacking stuff from everywhere and turning it into something new and different. Highly recommended for fans of any of the gazillion bands I’ve name checked so far, plus Jason Mraz and anyone else with an acoustic guitar and a pop hook. This Could Be a Wild Night is one heck of an EP.

Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.

Recent Posts

Categories

Independent Clauses Monthly E-mail

Get updates and information about IC, plus opportunities for bands.
Band name? PR company? Business?
* = required field

Archives