SLINT – TWEEZ
(JENNIFER HARTMAN RECORDS/TOUCH AND GO)
The debut record by
Slint was released in 1989 and nobody bought it. They put it out on their own label, which traditionally has
always been a fatal decision. It is the
exception not the rule that sees self released albums picked up and
purchased. Musicians make music and
people run record labels for a reason, there is an art in both.
In many ways Tweez
feels the ugly sister to the unabashed beauty (and horror) that is
Spiderland. Despite being their first
record it is usually the second a fan will ever hear. And when they do, it comes as quite a shock/surprise as it bears
only a striking resemblance to what the band eventually wound up sounding like. Sure there is the fuzz from the distorted
guitars and an almost spoken word delivery of vocals and lyrics but these songs
are short, economic and basically they sound like King Crimson.
It’s funny to note
that despite being three songs bigger, this album is actually ten minutes
shorter than Spiderland as it fails to make even the half hour mark in
length. But who’s timing? Who cares?
Produced by Steve
Albini (aka “Some Fuckin Derd Niffer”), this record is striking and sharp, a
much clearer link to their pasts than their future. They’d done their duty with hardcore in both Squirrel Bait and
Maurice and now was time to expand on their skills it what was moving
organically.
The album is split
between two sides: “Bemis” and “Gerber”.
And the song titles are the names of their parents save for the exception
of “Rhoda” which was the name of Britt Walford’s dog. For the record: “Ron” and “Charlotte” are Walford’s parents, “Nan
Ding” and “Charlotte” are Pajo’s, “Carol” and “Kent” are McMahon’s and Warren
and Pat are Buckler’s.
Then there is the
cover featuring the Saab 900 Turbo, which looks like it is about to run you
over.
It begins strongly
with “Ron”. As with everything the band
seems to do it is an unconventional opening as a drenched and distorted guitar
sound pours over proceedings before swiftly being reigned in by a metal
manoeuvre and left to hang until it is cut altogether. And this all occurs in the first sixteen
seconds. At this point a crucial moment
occurs the voice of Brian McMahon (sound like Steve Albini) drops “Steve, these
headphones are fucked up. They’re only
coming out of one side, like the… Should I just bear with it or what? Shit.
They’re fucked”. By mistake we
get a classic moment in alt rock.
Then all hell breaks
out as the song spins out of and into control as some kind of crushing funk
with major punctuation marks grips things and keeps them in check as McMahon
goes off on a menacing, spite laden rant seemingly in the name of vocals. And then it is all over within two
minutes. Suddenly things will never be
the same again.
Coming back to the
names thing, Slint was actually the name of one of Walford’s pet fish as
opposed to the common belief that it is a combination of slit and cunt or slut,
bitch and cunt. Seems things aren’t so
nasty/hostile after all.
However maybe I spoke
too soon as the slow metallic throws of “Carol” emerge complete with the sound
of smashing shards coupled with screaming then silent vocals and complex time
changes. What is going on within their
existence?
The title Tweez comes
as a reference to Walford’s collection of tweezers. Why was he doing with so many tweezers? Why did he need them?
What were the roots of such a fetish?
Is this the music of deviants?
Tweez is a cold album
with Steve Albini’s fingerprints all over it.
Often the record resembles something more Rapeman than the band that
went on to make Spiderland. And as a
result occasionally tracks will feel that they have finished before they have
even started. Also the
crashing/smashing effects framing proceedings on tracks such as “Carol” very
much resemble the Albini mindset. Hell,
McMahon even sounds like him when “singing”, as the vocals are shot through
some weird wire connection.
It is funny to note
for what such a respected and pioneering alternative rock act this is, so many
of the songs do open with a similar metal bombast (the most criminal being the
two opening tracks “Ron” and “Charlotte” which could almost be incestuous
relations). Indeed there is quite a
sharding metal sound to the guitars in general. Thankfully this was a band that knew how to use it, to harness
the rock for good and not evil even if it did result in lumbering and moments
of feedback extension. Who was in a
rush anyway?
A weird highlight
occurs with “Darlene” which I swear take the same line as “Where Are You Baby?”
by Betty Boo. I defy you to
disagree. However the accompanying tale
of a broken relationship helps take away the sugar, shredding proceedings to
death in a most meandering fashion. The
delicacy is luscious and lucid as the song gradually steps up a gear and aims
straight for mute pay off.
Listened to closely
this is a more varied album than face value suggests. Sure it lacks the pomp of Spiderland but in “Kent” there is a
track that suggests sights in that direction while the pounding “Warren”
provides the hardest, most hardcore and frenetic moment.
All in all this is a
very compact album. More math rock than
post rock, it is a band being expansive and experimental within the realms of
motion and decipherable.
It’s a jam.
Thesaurus moment:
inchoate.
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