Les Savy Fav - Rome (Written Upside Down) EP
(Southern)
Let me begin with what I know: Les Savy Fav are the new heroes of post-punk; they blow away all sorts of other bands with their off-kilter melodies, intelligent lyrics and quality musicianship. And that doesn't even take into account their stellar live show (something that I've only heard about and not had a chance to witness for myself). I also know that Les Savy Fav are a lot better than other bands in their genre; mainly Q and Not U and Burning Airlines, two groups that they're often compared to. Where those previously mentioned bands are content to play the same sort of sound that the "post-punk" genre is known for (think Fugazi, Jawbox, Big Black, etc), Les Savy Fav bring things up a notch. They rock the house. You've probably already guessed that I'm a big fan. So what? It's hard to remain objective when the music is this good.
They've enhanced their sound around a lot since their last release, The Cat and the Cobra.
That's mainly the influence of one of their original members, guitarist Gibb Slife, leaving. There's a lot less guitar here than there used to be, and it's a change for the better (I know what you're saying: "how can less guitar be a good thing?" Trust me, it is). Keyboards replace the crunchy old sound with a slick, creamy coating that suits the music well. While it doesn't sound as organic as it once did, it adds a whole new level to their old sound. Yeah, yeah, yeah.
"I.C. Timer" starts things off with a synthesizer that breaks out into some serious mathy-ness at the five second-mark. "On a plain/in a storm/there they prayed and there we got born" lead guy Tim Harrington intones in a speak-sing, before the song breaks down into a digital skip. That's kind of disconcerting, but it adds to the mechanical feeling of the song. The vocal delivery contrasts nicely with the constructed instrumentation, as Tim shouts, screams and yelps. Although it's a pretty dark song, it'll have you feeling upbeat while you listen to it.
The tastiness continues with the next song, arguably the best track on the EP. "Asleepers Union" begins with a single guitar playing a downbeat melody, with the vocals "you know who built this town/you-know-who will tear it down". It's safe to say that this isn't a happy tune. It's also safe to say that "Asleeper's Union" completely demolishes their old sound. As the song progresses, bass, drums, and synthesizer are added, but the guitar overpowers everything with it's pretty melodies and digging hooks. Everything, that is, except my man Tim's vocals. "The anchor's away and the co-host's in crisis/the mice they will play while the lion's in stasis./Everyone prays that the facts are to blame/when the TV goes off, the makeup remains." Q and Not U will try for their entire careers to craft a song this good. To be very honest, they'll probably never succeed.
"In These Woods" and "Hide Me From Next February" are standard Les Savy Fav fare, recalling the best moments of their past releases. In fact, if "Hide Me..." doesn't pick you up with it's screamy vocals, off-kilter beat and thick bass riffs, there's something wrong with you. It's also Tim's shining moment, lyrically. I'm not going to quote anything, because I don't think it would be as effective taken out of the context of the whole song, but let me assure you: it's pure love. Think "Debaser" by the Pixies crossed with Polvo's "Fractured (Like Chandeliers)." Pure love, whoa ho ho ho.
Unfortunately, this is just a five song EP. Luckily, the last song, "ROME," is one of the weirdest, funkiest punk songs I've heard, and it's a neat look into what Les Savy Sav will (hopefully) be doing on their next full length. It starts with a loopy keyboard solo that leads into fuzzed out drums and Tim screaming the line: "We're in a great deal of trouble for just a wee bit of fun/upon kissing the princess she turned into a stun gun!" Sure, it's kind of silly, but when delivered with such conviction, it doesn't matter.
Not often do EPs stick out with such clarity. Usually they're just a teaser for what's to come. This is such a great slice of post-punk perfection (how's that for alliteration?), though, that it stands alone excellently.
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