And what would we classify as "normal" these days
anyway? Naturally, "Normal" comes away as anything but, as if by
design, yet that'd be a little too obvious for the listener, let alone first
timer. I'd have liked to see some lyrics to go with the song instead of just a
widespread close up of the mixing console but such is the life of a struggling
Indie-goer, scratching and clawing for every dime, an inch or two away from the
great make over before peering further down the empty enclave of social
misnomers that broke big and fell apart.
Pretty Mighty Mighty's been doing their thing for a long time, some thirteen
years, and if there's one thing to be said for this record, they've probably
afforded themselves the chance to release another one. And if there'll be
something else to say, I don't think I've ever heard anything quite like this.
It's like the black spot on the sun of an otherwise radiant Pop shine; the
rugged undercurrent lurking beneath clear blue waters; the freshly painted hit
single that's gotten a last minute key scratch, successfully pulling the carpet
from under leaving otherwise bored program directors two faced and biting
fingers over whether to or not and subsequently losing last minute nerve, opting
instead for C and G chords and vocal harmonies to please the masses.
"Normal" is a seven track EP that's easy to consume for the 20 or
so minute overall length of three and change intervals that come away like curvy
bends obscured by brush and dark paths. I can hear several bands going at once
and yet hear nothing I can readily distribute for comparison - yet "Hey
Mercedes" comes to mind, though I'd bet against any note for note parallels
at work.
"Ten Minutes" is the first and likely worst of the bunch in that it
sets a lethargic tone that twice over, did me in, but if nothing else, gave
stronger depth to the followers - highlighted by the emotional swoon and swell
of "Sleepless," "Blackjack Master" and of course,
"Waves," where dread and drone continue to play kid games with catchy
rhythms of lowly tuned and echo-less guitar licks and harmonic intrusions,
boosted, occasionally by violent bouts of reverb, and ironically, melancholic
bow strikes and bass beats to carefully accompany Jon Chinn's smothered when
not, "Sleepless," singing voice.
Overall, there are effectual moments to peek behind the cloud cover and
reveal an ambitious means to escape the doldrums of a moody, emotive, and
seemingly effortless run for this Rock and Roll sigh of a record that remains
relaxed beneath the surface of Pop precept. So save for a too often tranquil
guitar vibe and repetitive riff pattern that lingers a little too long after the
point's been made, "Normal's" actually a densely eclectic masterpiece
the second or third go round.
