The Caution Curves are a trio based in Washington, DC that evolved from the solo project of Rebecca Mills (laptop, etc.) to include vocalist and guitarist Tristana Fiscella, and dummer Amanda Huron. Their two song self-titled debut CD hints at a distinctive and cohesive sound that draws on the strengths of each but ultimately falls a little short of delivering on that promise.
The backbone of The Caution Curves’ sound is the interplay between Mills’ and Friscella’s shifting audioscapes and Huron’s sympathetic rhythms. The disc’s best moments come in “Leslie” as Huron locks on to one of Mills’ and Friscella’s chugging loops at first langorously, then tapering off and returning with increasing intensity as the conversation transitions from wobbly to a tight oblong orbit like a top running down in reverse. Some really great organic grooves emerge from this methodology and it’s fascinating to hear them come together from their tentative beginnings.
Fiscella’s guitar adds great color but enters tricky territory by drawing inspiration from the vocal gymnastics of artists like Joan La Barbara (who some listeners might find an acquired taste if indeed they ever “get” it). Without a carefully considered relationship to their musical surroundings, such effects can seem contrived or gimmicky. When it works (as in most of “Leslie”), her gasps, groans and hisses deepen the effect of an already swirling maelstrom of longing. However, it can become a distraction when it focuses too much attention on itself in an ensemble environment (e.g. in “Lemons” where Fiscella’s antics come down somewhere between a loud yawn and a dangerous similarity to Ellen Degeneres’ attempts to “speak whale” in “Finding Nemo”). What is perhaps more unfortunate is that for me this comparison lingered and dampened the emotional effect of her pleas towards the end of “Leslie” which would otherwise have resonated with more poignancy. Overall, The Caution Curves’ debut is a promising first step from a group still working on finding its voice.
