|
moe. has released a new studio/live hybrid entitled Wormwood. Now in a similar way in which one must be careful with the main ingredient of Absinthe, you have to be surefooted with moe. They have this way... It’s difficult to say, perhaps because of its inherent ineffability, but they know how to twist your noggin just right so as to not be too noodly. One thing to bear in mind, though, is that interspersed throughout the album are interludes of a most intriguing kind. Some of them are downright demented in the most beautifully sublime of ways, and others are just enough to lift you up a tad bit.
They kick things off into a mind-altering spasm of high-octane energy on “Not Coming Down.” The bass in particular really accentuates the continuity of the album, as you prepare for a journey into their kaleidoscopic Baudelairian landscape. The title track of the album floats along next like one would expect: ridin’ a wave of greenish fluidity, awash in wonder and grace. The slide work is almost like they have conjured the spirit of a long dead friend of ours, and that is a testament to their ability to really feel when the music is dancing their way. Al Schnier’s solo work with the labsynth really shines through on the entire album, especially as it chews through the wormy wood of the title track. Following on those notes comes “Okayalright,” and it speaks very well of the transformative effect grandma’s magic jam can have on all of us. That is to say, music that hits the note makes us all smile and feel… well, you get the point. This is a great southern send-up, demonstrating that they are crafty musicians with deep roots indeed.
“Gone” dances with a side-steppin’ bounce along a friendly dirt road under the sun. Y’all will have to listen carefully to get what point it is that they are trying to get across. But for now, you can trust that when the guitars go way out together there is always hope that things are never completely done with this band. Damn, it just soars and soothes.
“Crab Eyes” starts out with the marimba in ways that scream Zappa, but then it shifts precariously towards a lurchingly mean reggae twist. They mean business with that warning. If you are not careful you will forget that you can sometimes float away on a white river, never to return! They actually bring you back to remind you of yourself, and of all the terror with which this dream we call life can sometimes be adorned.
“Bullet” has this meanderin’ groove, and the percussion really brings out the best in that song. That it follows quickly on the heels of the previous lesson is no surprise. It will indeed bite you in the ass. They hit really heavy in this song amidst rolling synthetic terrain, grinding guitars and thundering bassic overtones. They show their alchemical prowess on this track, transmuting the dead lead into a gilded feather-light touch. That bullet has everyone’s name on it, and it flies right into perhaps one of the more caustically humorous songs I have heard in some time: “Kyle’s Song.” Not only do they really capture that special floating river-borne sound as they segue into it, but the song surfs upon a toothy grin of “WHAT THE FUCK!” as you realize what a whopper they’re tellin’. Kyle’s ditty breathes gently into “Bend Sinister,” which just builds upon a Siren’s distant call.
Well, it is obvious to me that video games played a part in their development as youngsters, for “Kids” could easily pass as the music to help you eat the shiny red amanita muscaria and bash imaginary coins with the top of your onion head hat. It is easy to get lost in the music without hearing what it is that they are saying. They have grown up, and so will you after you hear this song. They really go off live. You can hear the kids cheering in the distance. “Shoot First” is this almost swanky, acoustically flaring powerhouse. Permeated by a Latin love supreme, it really indicts the wretched and despicable in triumphant fashion; or at least that's my take.
As is always the case, moe. has created a monster of an album, thereby continuing their course in shattering the egregious belief that bands that jam can't muster the gumption in the studio. Again, they leave me wantin’ moe.
Laurin Wollan
JamBase | Northeast
Go See Live Music!
|
