Local Motion: Glocca Morra and The Illustrated
We here who grind away in the County Grind like to respect and promote our local efforts. In today's Local Motion, we look at a pair of releases by Boca Raton's Livid Records, a fine compendium of local and out-of-state acts that is rapidly becoming one of the "friendliest" independent labels in the U.S.
The Working Bones, A Health Decline
Glocca Morra is one of those outfits that tread the fine line between full-fledged indie rock and post-punk nuances. That they manage to do so successfully is a credit to their craftsmanship and the effort has not gone without note since this here disc was nominated for an Independent Music Award and though they've relocated to Philadelphia, it still fills us South Floridians with pride.
But it should be no surprise. Drummer Arik Dayan is well-known for his work with locals Baby Calendar and Call it Radar and he's rounded out by bassist JP Casanova and singer/guitarist Zack Schwartz. The eight ditties on this platter range from Fugazi-like arrangements that take their nods from the current crop of Central Florida outfits with a muted Against Me! underline.
What works best in the album are the little pepperings of guitar treatments and percussive elements that truly show off the know-how of the band as musicians. Tracks like "Ego Death," "Fake Teeth" and "Apocalyptic Showdown" will work their way into a repeat function with their sweet and infectious pop.
First off, I had no idea what to expect from The Illustrated but I had an inkling that there might be a Bronx-like, "let your freak flag fly high" attitude at work and I wasn't entirely off mark. There's also something of an obsessive/compulsive streak at play. Apparently, The Illustrated is not only a band that makes music, but one that belongs to an art collective (The Minge Collective), compiles their writings and rants and is an-ongoing film project. It also took two years to record this here eighteen tracker.
There is noise, there is hardcore, there is metal-like riffage, indie pop elements, saccharine rock, country, psychedelia and weirdness thrown in the mix to attract fringe fanaticism. That's kinda good. Think of it as "Dashiki Eclectic" without a full world orchestra behind it.
Created and comprised by Bryan Beardsley (all instruments) and Matt Murphy (drums and noise textures/sampling), the album works like an undefined concept that builds upon itself and exists symbiotic of its own tracking. To single out an individual song would be a disservice, since the experience of listening from beginning to end results more satisfying. I was very pleasantly surprised, good things do come out of Sarasota.
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