Fresh Stream



Swirling, synth-psych drenched, slathered and ultimately coated in effects, is GARY WAR‘s new record JARED’S LOT. It comes courtesy of the usually great SPECTRUM SPOOLS, and comes equipped with more get up and go than what you usually find in that label’s releases. Pop songs buried within sonic layers and layers is the way this fellow(aka Greg Dalton, who’s been making his home in the general Boston area for a recent segment of time) does his business and the slow peeling back of these layers with every listen is the supreme joy of listening to his music. GARY WAR’s first full length since his awesome HORRIBLES PARADE of a few years back and it is majorly heavy on electronics, arpeggiating synths in particular, and it is really special in its use of these elements and the way in which he blends them with his affected voice and guitars. Certainly there are new wave feelings one will have while listening to this, but really there is nothing new wave going on here. This is future music, or what could be future music or at least what Mr. Gary War imagines the future could be. Really truly robot rock music, one could imagine this being the music made by the first wave of A.I. that becomes disaffected with the society they are stuck living in. A.I. punk that is. The drum machine and sequenced synth lines propel most of the record giving it real urgency while all manner of electronic and organic and hybrid sounds whirl around them. The production here is less lo-fi than any Gary War effort before, and it sounds really perfect coming out of even my phone. “Pleading For Annihilation” bubbles brutally, annoyed guitar riffs colliding with the song’s electronic underbelly. Speak/sung affected to hell vocals move toward a scream that opens the gate to a wild outro sound stew that some will not be able to not move to. Another scream. A fucked up conclusion(backwards sample?). “Care Less” is poppy by comparison, a very bouncy beat toeing that new wave line, as straight pop as you can get here. Sharp synths come into play amidst the garbled pitch shifted vocals that get buried in the layers of drum machine, and eventually cease completely almost as if the vocalist forgot there was a song happening, or maybe something happened to them during the song? “World After” is sort of an actual 60s style pop song, pretty guitar parts, an almost direct(by comparison) vocal, backwards guitar lines throughout the song’s three minutes. Here the beat is almost non-existent. Love the synth and guitar outro. Closer “Muscle Dysmorphia” sounds as if CHROME let themselves go fully over the rainbow, and had GIORGIO MORODER join the band. Really love it, wish it was longer! Wish the whole album was longer. This is weird as weird can be, and so listenable. I can’t stop. No one is applying themselves to a meeting of rock and electronic music and getting anything near the results that GARY WAR has gotten. While brief, this record immediately pulls you into its own little world, acknowledgement of which is one of the highest compliments I can give a record. Can’t wait until his next one. Let it come soon.

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