Ball of Wax 67 Songs: Tite Nauts – “Gender Reveal Party”

“Gender Reveal Party” is my introduction to Tite Nauts. I’m drawn to the attitude, sarcasm, and drive of the band and this jam. “Gender Reveal Party” tackles a rather odd ritual for which many partake in today’s modern society. Rituals, which in the worst cases, and as referenced in this song, have resulted in terrible forest fires.  

The song starts off with a straightforward bouncy lick while quickly getting serious and down to business. Robin’s vocals come in with utter enthusiasm for learning the gender of your baby. The tempo keeps up and drives forward. I can’t quite make out the lyrics on the chorus, but it seems to be something along the lines of pyrotechnics, explosions and forest fires burning pink and blue. And so I dance around my apartment like a maniac to “Gender Reveal Party” with my neighbors staring in at me thinking, WTF is up with this dude? 

Tite Nauts are putting out the best local songs from Chico, California.  I wasn’t too surprised to learn that this is where they are from. We don’t tend to get music this explosive and edgy up in the more mild-mannered Pacific Northwest. I remember growing up on the Punk-O-Rama mix cds in the late ’90s and early 2000s. Some of my favorite unheard of bands came from these compilations. Tite Nauts’ “Gender Reveal Party” is just that type of song from an unheard of band that I’d fall in love with.  

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Ball of Wax 67 Songs: Spritle – “Let Me Eat Cake”

Our newish friend Bryan Brophy has brought us something completely different for Ball of Wax 67 – a blistering, blown-out stack of heavy guitars and drum machines produced under the moniker Spritle. This is perfect Friday-afternoon-at-the-end-of-a-completely-fucking-ridiculous-week music, which is appropriate – for me as I post this, anyway. There are no dynamics, no letting up, just go-go-go, Bryan barking four-syllable phrases that seem to point to the divide that can arise between what one knows needs to happen in the world and what one is doing with one’s own self. Sure, everything is falling apart and we have a responsibility, but also, can’t I also just eat some damn cake? The chorus – which we don’t get to hear until the very end of the song, one of my favorite songwriting devices – lays it out: “you’re gonna change the world, don’t try to change me / you’re gonna save the world just don’t try to save me.” It’s unclear to me whether this is Bryan working out some internal conflicts, writing in the voice of a character, or just venting a semi-stream-of-conciousness rant over some loud fucking guitars? Any way you slice it, you’ll want to play this loud and repeatedly. Note to Bryan: More please!

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Ball of Wax 67 Songs: E – “Any Information”

I feel like we’ve used the term ‘supergroup’ a bit too much around here of late (i.e., like, three times), but E is truly worthy of the title – at least to me and likely many others who spent much of the ’90s rattling around the rock clubs and loft spaces of Boston, Allston, and Cambridge. I could probably write a book – or at least a long, rambling essay, you know the kind that goes along with a recipe for kung pao broccoli that you just looked up online and why do you have to scroll so damn long just to get to the actual recipe, what does this person’s neighbor’s dog have to do with broccoli? – about what the mere existence of this band means to me. But then you’d get sick of scrolling before I got to the song itself, so I’ll just say that in Gavin McCarthy (Karate), Jason Sidney Sanford (Neptune), and Thalia Zedek (Come), the band E is composed of some of my very favorite musicians from a part of my life that contains some of my very favorite music. And it turns out they’re still making some of my very favorite music!

Let me be clear: “Any Information” (the title track from E’s forthcoming EP) is a JAM. After a quick four-bar march intro Gavin drops in with a steady, propulsive beat and never lets up, while Jason and Thalia’s guitars play off each other in a delightful manner, one bringing frenetic percussive attacks, the other bringing more melody and texture, occasionally unifying into a wall of trebly mayhem, both players also adding layers of noise from radios and other devices – and somehow I never even miss the bass. (This is not something I often find myself saying.)

It’s not all fun and games, though: The lyrics, delivered in a clipped rush of hushed urgency, are simple and repetitive, but communicate so much about this moment (both the broader moment we’ve been living through for some time, and this exact moment in history): in seemingly every aspect of our lives, information is so important, reliable information so hard to get. I don’t know when these words were written or what was on the mind of their writer, but hearing this song on February 24th and 25th, 2022, I can’t help but hear a refugee pushed across a border by forces beyond their control, or a helpless observer doomscrolling from across the globe, seeking information, any information at all: “any information that you have about my brother, any information that you have about this place.” It’s a darkly compelling counterweight to the rollicking noise it accompanies.

I am far from an impartial observer here: I was an instant fan of this band before I heard a note. That said, each successive release of their has only solidified that fandom and given me more reasons to keep listening. E is touring Europe this spring. If you live in or near one of these countries, go.

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Ball of Wax 67 Songs: Guma – “Mud Doctor”

Has it really been over five years since we’ve shared a song from our Austin pals Guma? Apparently so. I was delighted to receive the band’s new album A List of Sightings in my inbox recently, and upon hearing “Mud Doctor” I had no choice but to include it in the all-important number 2 spot on Ball of Wax 67. Something about the deep-pocketed groove, compositional playfulness, and T.J. Masters’s deadpan baritone call to mind early 2000s Jim O’Rourke, one of my indie rock comfort foods. Two sharp guitar stabs dump us right into that groove, heads bobbing from the first beat. The rhythm section is steady as a rock with sharp syncopation on the verse, opening up to broader vistas on the chorus, even as the lyrics turn to the mud. That groove takes us out all too early, bass and keys adding a few flourishes here and there while the fader heads inexorably down.

Maybe it’s just that we’re two years into this pandemic, or maybe it’s the nature of the music itself, but something in these first couple tracks clearly has me and Matty thinking about the joy of live music. I would love to see this band live and have that end section just go and go and go, never devolving into a full-on noodley jam, just everyone grooving for days and leaving room for each other to have a little fun with the themes.  (Yes, I am a middle aged man who likes Steely Dan and I’m not ashamed to admit it. Please do not let that cloud your appreciation of Guma.)

In conclusion: Guma! Come to Seattle!

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Ball of Wax 67 Songs: Lacey Brown – “Thin Air”

[Editor’s note: Ball of Wax 67 is coming! And for the first time in two years we’re having a live, in-person, release show! Join us March 12th at 7pm at the Chapel Performance Space at the Good Shepherd Center in Seattle for performances by Lacey Brown, Mt Fog, Summer Sleeves, Sun Tunnels with Seth Howard, and Triskaideka. Tickets available on Bandcamp.]

Lacey Brown is a wonderful addition to the roster of Ball of Wax contributors.  The songwriter behind Poor Clare is an active Seattle artist with several albums worth diving into.  “Thin Air” is a thoughtful and carefully crafted song with a deeply resonant theme for any listener. “Is it okay if I disappear into thin air” is the hook and theme throughout.  It is one of those lines immediately relatable on many levels.  And then, after the first chorus, it’s as if the songs disappears into thin air.  The driving beat is dissipated into echoes and ripples like drops of water on a calm clear lake.  A half time beat picks back up for a second verse with deeper reflective questions.  

I want to see this Lacey Brown live somewhere in a Seattle venue. [You can! Try the Ball of Wax 67 release show! -ed.]  Her music is beautifully layered, as in the song “Thin Air.” A seemingly simple acoustic guitar lays down the musical progression with background ambiance lightly building for the vocals to enter.  A few more acoustic guitars enter at various points, never crowding the musical space but complementing it and slowly building the emotion.  One of my favorite parts of “Thin Air” is after the first verse’s line “Vanishing the night” (I may have misinterpreted this line).  An edgy bass line comes in and takes us into the chorus.  That bass line, simple but elegantly well placed and executed does so much to transition and change the dynamics of the song.

All these well layered sounds and textures seem well suited for a live show.  Equally suited for listening via candlelight on a rainy Seattle evening.  Hopefully this will not be the last we hear of Lacey Brown on the Ball of Wax or in Seattle. I’m very impressed with how it all comes together sonically in “Thin Air.” The echoes, the ambiance, the effects, the instruments, the vocals, all the resonance between these elements is an amazing accomplishment and an enjoyable listen many times over.

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Submit to Ball of Wax 67!

Photo by Flickr user Eva the Weaver, used under Creative Commons license CC BY-NC-SA 2.0

Now that we’ve reviewed all the tracks on Ball of Wax 66, it is of course time to get to work on the next volume! Ball of Wax 67 (winter 2022) will be the eighth volume of the (&$#*!) COVID era. And by gum, I am very sincerely hoping to have an in-person release show for the first time in two years – I’ve even secured a date!

It seems there’s a lot of great music being made out there, so I’m going to keep this open and themeless. Send me whatever you’ve got that you’re excited about! No need to be a Ball of Wax exclusive; newly released or forthcoming elsewhere is totally fine.

Deadline: February 7th (earlier is great too.)
Guidelines: here

Feel free to drop me a line if you have any questions about how this works or what it is or . . . just, like, why? (Just kidding. I have no fucking idea, but if you can tell me that’d be great.

Please spread the word. I can’t wait to hear what you’ve got.

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Ball of Wax 66 Songs: Tom Dyer & The True Olympians – “It’s Mud”

The last time I reviewed a song by Tom Dyer & the True Olympians, I closed it by calling the song “just damn fun” and heck if they haven’t done it AGAIN. I still don’t know where Tom Dyer finds the time to be involved in so many projects (most of which bear his name and all of which seem to have come from the playful end of the rock strata before bouncing through the various sands, soils, and waters of the rushing effluent and digging in among the sediment of Dyer’s own delta of joyous madness), but I’m thankful he does!

“It’s Mud” is a wild ride through that very delta, a pop song treading the depths of the aural spectrum where the bass, drums, guitar, and even Dyer’s vocal beat the bedrock like it’s the final barrier to getting every last ass in the place out of its seat and wagging with the rhythmic rumble of the sonic flood. Joe Cason has his hands full keeping this tectonic leviathan from cracking through to the mantle, but his electric piano does so admirably (love the way everything sinks away at the end, leaving only the keyboard to remind you that some things can never stay submerged) and gives the beat a touch of syncopation.

Tom Dyer’s vocals are always a blast, but on “It’s Mud” he sounds more like a man possessed than I think I’ve heard, hooting, hupping, and growling every lung-collapsing line in a frenzied competition with the True Olympians’ guest artist, one Arrington de Dionyso, who takes the title of the song as literally as possible and all but blows his bass clarinet to bits (gods bless the little reed that pulled off the Herculean task of being channeled from one to the other of its instrument’s four-plus octave [I’m including overblowing because I’ve heard other de Dionyso material and the man favors pushing his woodwinds to and often beyond their limits]). In fact, Dyer gives his guest complete freedom and lets de Dionyso exorcise every spirit in the immediate vicinity, clearing the nooks and crannies in double-tracked stereo glee (I hope, anyway—otherwise there’s a lot more black magic happening here than bargained for) for 30 seconds before the band explodes into action, at which point his guest kicks into high gear, coming up for air maybe twice over the next three minutes.

As a whole, “It’s Mud” is spiritually and emotionally (and almost physically) cleansing, washing over everything in a deluge of delirious sound, and Levi’s choice to close this volume of Ball of Wax with it is simply inspired. In fact, this has been one of my favorite volumes yet, and each time “It’s Mud” ends, I have to catch my breath and shake off the silt before realizing that another spin of this whole Ball of Wax is desperately needed.

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Ball of Wax 66 Songs: Keyboar – “Welcome to today forever”

Simple brilliant clean rockin’ execution. Keyboar‘s “Welcome to today forever” brings forth a straight forward catchy riff right off the bat, making your body rock right along with the beat. The bass sets the attitude and tone of the song, laying the foundation for the rest of the instruments to layer over the top. The edgy-toned guitar with perfect reverb layers in next with the first of many eerie but catchy themes. The follow up of the melodic line is a playful trill locked into the pocket laid down by the bass and drums. There are some great ethereal atmospheric keyboard-esque sounds which along with the drums tie the song together, making a brilliantly complete composition. I love the the simplicity and execution of this song. Each instrument playing its part leaving space for the other to come in and complement the whole. I can hear each the whole way through and at times each having its moment to shine. This is a song that stays in the head and leaves the body rocking well after it’s played.

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Ball of Wax 66 Songs: Strange Torpedoes – “Watching the Driveway (for Headlights That Never Came)”

I love instrumental song titles. The little bit of context they provide goes a long way in coloring our understanding of the piece. Strange Torpedoes’ “Watching the Driveway (for Headlights That Never Came)” might be about latchkey kids or a stood-up prom date or a really sad dog. We don’t know. But the little bit of melancholy the title provides goes a long way in anchoring Strange Torpedoes’ rubbery, experimental headspace.

Between the ’90s styled kick-snare interplay of the drum kit and the jangled-to-the-point-of-janky acoustic guitar, it’s hard not to think of Dust Brothers-era Beck while listening to “Watching the Driveway.” That is, until about twenty seconds in, when you realize that what you thought was the intro turns out to be a foot slowly pushing on the accelerator. As a guitar (at least, I think it is a guitar) slowly rises from standard feedback to a banshee wail, you realize that for all the R&B trappings Strange Torpedoes lured you in with, what you have actually stumbled upon is something very freaky.

Strange Torpedoes manipulate mumbling voices beyond comprehension, weaving them between the rhythmic pocket and the avant-garde. The dizzying result leaves the listener torn. This dissonant feeling – hearing something so rhythmically familiar but so atonal – must sound how watching the driveway feels. You expect the melody like you expect headlights. Neither comes. Then, slowly, the expectation fades away.

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defineartworks – “We Come in Peace”

A brief ambient interlude, a little under two minutes but suggesting a much greater span. We (they?) come in peace, but the arrival is also tinged with nostalgia for infinite time and endless space.

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