The Severely Departed is a post-rock duo that does a very good job of not sounding like a duo. This isn’t to say that they pack their tunes with instruments to hide the fact that it’s two guys; it’s that the elements they incorporate sound full and natural. The songs on Two build and fall in exciting and interesting ways, playing off tensions between the performers. Many duos can become the back line supporting the front line, but The Severely Departed encourages the drums to play an equal role in the tunes. Whether this is by setting a near-constant cymbal backdrop for “Moving On” or by supplying solid contrast to the guitar antics in “A Parting Glance,” Ben Crowley’s drum parts shine. In parts of “Relapse,” Crowley’s complex parts are the whole action, as Chris Grimm repeats a distant guitar riff and lets Crowley roll. It reminds me of the acrobatic, heavily rhythmic drumming of Josh Baruth on The Appleseed Cast’s Mare Vitalis.
Grimm has his own highlights, as the guitar and keys bounce back and forth between beautiful clean melodies (a la Moonlit Sailor) and heavier riffs. The tensions between these two styles are played up in “Relapse,” making it the most intriguing tune of the bunch. But each of the five tracks here have their own merits: the layered piano and guitars of “Beneath the Years” allow for one of the more complex arrangements of the bunch, while “Into the Open” displays great use of tension. Two is an impressive release for the Severely Departed, and I hope it gets them a lot more recognition in the post-rock world.
Chicago’s Shiloh refers to itself as scum pop. It’s nowhere near as scuzzy as SanFran garage rock, but it does mash up indie-rock, indie-pop, and alt-country in a lyrically and musically irreverent way. There’s plenty of glee to be had throughout the 10-song Mrs.: the excellent a capella chorale of “Perfecting the Art” gets pummeled by one of the loudest rock sections on the album; opener “Midwestern Sigh” recalls Pavement and the like in their giddy disregard for vocal and songwriting conventions; “Winking Buick” is some sort of alt-country/indie/surf-rock instrumental jam sesh. The core of almost every tune is recognizably alt-country, but the tunes sprawl out over a wide spectrum from there. For instance, closer “Perfecting the Art” crams a mellow pop song, a saloon-style breakdown, and the aforementioned a capella/rock breakdown into 3:54 (all while still retaining an irresistible melody). If you’re into varied, genre-bending songwriting, Shiloh is a good bet to pique your interest.
Zack Walther and the Awe Hells play a mash-up of rock, folk, and Southern rock that calls up comparisons to Needtobreathe pretty quickly. Walther has a resonant, powerful voice that plays on top of twangy banjo (“Heartstrings”), foot-stomping swamp rock that incorporates a manic gospel tint (“Mustang Wine”), and mid-tempo rock (“Stand Up”) with equal ease. His baritone provides a lot of the direction, but the band provides swagger to match. The bass work is especially notable, as the low-end contributes a great deal to the feel of tunes like “Stand Up” and “Here With You.” If you wish that Zac Brown Band was a bit more muscly, or that Needtobreathe get a little bit too Muse-y at times, then Zack Walther and the Awe Hells’ 15:51 EP will be in your corner.