Last updated on May 14, 2019
It blows my mind that Matt Shaw’s Ghosts in the Concrete came out in 2004. Matt Shaw created an electronic indie-pop world that was more lush and developed than The Postal Service’s take on the genre, and Ghosts has remained one of my favorite releases I’ve ever reviewed at Independent Clauses. Shaw’s band City Light just released its sophomore album Memory Guide, and it builds out his indie-pop sensibilities with hip-hop and electronica overtones to make a very engaging album.
Shaw has always used his melodic gifts to create tunes of foreboding or downright dread; even in the musically chipper Ghosts the main themes were urban malaise and future panic. City Light’s debut album fashioned a fitting musical sheath for these ideas, creating “moody, haunting, electronic indie-rock.” Memory Guide swings back toward the balance in his solo work: upbeat songs that deliver downbeat lyrics. The album does have some dark, haunting arrangements, like the excellent instrumental “Memory Loss,” but the overall tone is much brighter. “Sweet Death” is a buoyant dance song about getting old, while “Waste Away” is a stomping rock track with sparkly lead guitar. As you can see from the titles, however, Shaw hasn’t gotten any more optimistic in his musings.
My favorite moments apart from the surprisingly dance-able pessimism are “Wrecking Ball” and “You Know This Song,” which both strip away the bravado of a full band and operate much more like the small, cohesive, claustrophobic Shaw tunes I so adored on Ghosts. “Wrecking Ball” pairs a lazy, fingerpicked, clean guitar line with a trip-hop beat, some fuzzy organs and bgvs; it works beautifully. “You Know This Song” employs a similar strategy, letting the focus fall squarely on Shaw’s beautiful, evocative voice.
Shaw’s blurry, bleary tenor is one of the things that attracted me most to his work, and it is in fine form here. Comparisons to Ben Gibbard miss the gauzy/gritty edge that Shaw cultivates; references to pop-era Flaming Lips don’t give Shaw enough credit for hitting notes (which, as an avowed Flaming Lips fan, is something I can fully admit that Wayne Coyne does not often try to do). It is a distinct, passionate, memorable voice, and one that can suck me into any tune. It’s worth your price of admission just to hear it.
City Light’s indie-pop tunes have a complexity far beyond what I’ve described; the arrangements are strong, the songwriting is tight, and the performances are spot-on. There’s a lot going on and a lot to love. The most important things to note, though, are that these are fun, clever, and interesting tunes by some experienced hands. I highly recommend Memory Guide to any fan of indie-pop, electronic or no.
Pedro the Lion’s work was raw and honest, musically and lyrically: David Bazan grappled with his faith, his insecurities, and his culture in an alt-rock-ish idiom that hadn’t generally been reserved for that sort of work. Bazan’s retirement of the moniker was a sad day for me. With PTL long since gone, there aren’t that many bands holding a torch for the sort of emotionally vulnerable rock that can range in volume from forlorn slowcore to cymbal-rush pounding.
DL Rossi aims for that space with his music. His self-titled record is composed of confessional alt-rock (“The Fool,” “12 Step Plan”) and instrospective acoustic work (“Worked Up,” “Be Alone”) that complement each other in tone. Rossi also takes after Bazan lyrically, covering religion, relationships, and culture in a cynical-yet-hopeful sort of way. “12 Step Plan” is bitingly critical of mega-church Christianity, while “The Fool” is possibly even more vitriolic on the subject. Both tunes are hooky, energetic pop-rockers with a low-end crunch and indie-pop melodies; while these tunes would fit in on rock radio, they have a different flair and feel to them than your average rock track.
Other tunes tackle relationships, including the bombastic single “Strange Thing” and the Parachutes-esque “Suckers and Chumps.” (You probably don’t need me to tell you what they’re about, based on the titles.) The quieter tunes, like the latter, land gently, showing ache and pain without getting (too) maudlin. As soon as the emotions start to get a bit much, Rossi lightens the mood with some rock. It’s a good balance throughout.
I don’t listen to too many rock albums straight through anymore, but I’ve heard this one from end to end several times because of its diversity in sound. Rossi simply churns out high-quality tunes. He may be the spiritual and melodic successor to Pedro the Lion, but he could be much more than that as he matures as an artist. Very worth watching.