Charlene - s/t
(Shark Attack)
After one two THREE seven-inchers and three two ONE comp tracks we finally (finally!) get the perpetually "coming soon" debut full-length from Charlene. And well worth the wait. Why? Why: the spacefuzzbigbeatblast that made the first 10 Charlene songs (spread over the aforementioned 21 inches of vinyl and digital 010101s) so tantalizing is IN PLACE and FULLY REFINED on this self-titled second batch of 10.
Charlene knows—back of yer hand knows—and employs the tactics of musical build 'n' release throughout the album, and this goes a long way toward keeping the record fresh and exciting for the entire 51 minutes. "Stunner" opens with a vicious noise crescendo that suddenly dissipates, then ambles along on glockenspiel, teasing with false-build drums before finally erupting into guitar-heavy swooping psych bliss. Similarly, clean guitar kicks off the almost-menacing "Still," which carefully layers touches of brass (synthesized or real?), keyboard, electronic drums and electronic blat by the song's lush end.
How about another binary set to go hand in hand with build 'n' release? As in: pretty 'n' ugly. The melodies-vocal and instrumental-on Charlene are boy-howdy astounding across the board (see esp. "Still," "Sugarblocker"). It's certainly nothing new to over- or underlay a tune with jarring or earsplitting noise, but with melodic content as strong as this, the contrast offered by any guitar squeal or feedback roar becomes exponentially more effective. For example, the feedback that muscles its way around the pophit opener "Ripoff" adds a cold Boston sneer to what otherwise might be a top-down driving song.
But while noise plays a big part in this album, it does so subtly, and never as a means to disguise slight material; Charlene ably proves it doesn't need to poundpoundPOUND the listener into submission by piling on x-amount of FX and treated guitars at all times. Relative simplicity has its moments on the disc. "Shot Down" is all electronic drums and guitar, "Ender" is a soft, short, fairly naked ballad; always, the group's songwriting is able to carry the day, gimmick-free.
And gimmick-free is what Charlene's all about, along with (a) consistent songwriting; (b) hot shit vocals; (c) tremendous self-production; (d) varied and smart instrumentation. Think: "Medication"-era Spiritualized, Hopewell, Jesus and Mary Chain. Know: comparison does Charlene little justice. Dense, dark psych for wintertimers and not a stinker in the lot.
|
