‘super Low’, the debut album from five piece Atlanta band-Warehouse, radiates a sense of warmth and energy you find in despair of normality. Jangly trembling guitar riffs woven with intricate indie chord progressions are tightly knit together to provide a solid base for anyone familiar with the ‘Art Rock’ genre.
However, what separates Warehouse from “some art rock group” to a memorable listen is the shrieking and sometimes unsettling voice of lead singer Elaine Edenfield, who “woooas” and mumbles from track to track.
Her powers are demonstrated on the (obvious) single, ‘Simultaneous Contrast’, which sweeps you of your feet with its homage to surf-rock guitar, vis-à-vis the Drums. The instrumentation is then met by Edenfield who hisses- “simultaneous Contrasts coming right back to your face and thoughts”- a solid example of the often bizarre lyrics marinated in a grazing delivery, you encounter on this LP.
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‘Exit only’, the second track on the album, attempts to find space for itself with its scathing evaluation of a failed relationship. Again, the bordering maniac, delivery from Eidenfield is what serves this song so well. Her ability to turn a quiet movement on its head is unlike anything you’ve heard, but the crescendo is what you’re left waiting for in each song.
A lot of Warehouse’s melodic genius comes from the guitars (Ben Jackson and Alex Bailey), and on the title track Super Low, the bright chord work infused with melodic guitar line leads you to the closest thing that sounds like a ballad- once again, reflecting on a broken relationship -“I can’t destroy the things they keep me alive/I can’t destroy the things to lead me where you lie.”
Tracks like ‘Long Exposure’ and ‘Reservoir’ have their moments, providing a change of pace from the usual up-tempo speed of the record and wonky guitars, but sound slightly recycled and probably could have appeared on the bands heavier 2015 debut album-Tesseract.
Part of the charm of this band, is its ability to keep you hooked on the same chord progressions: part indie stabs, part punk thrusts- only to surprise you with a change of direction- take the jaded-Jazz outro of the humorously titled- ‘Modifier Analog’.
On ‘super low’ there isn’t too much to knock, it could be easy for Warehouse to fall into a cycle of the same picked chord progressions as they do on album closer- ‘Garden walls’.
But this LP is the sound of a band that has found their sound and now must attempt to craft a level of distinction between their influences, whether it’d be separating the Bosa Nova (Brazillian dance music) from the punchier, punk-ier elements that arise in these songs.
A second listen of this LP does allow you to hear the nuisances and sophistication of the guitar arrangements (note: the phase shifter) and to acquaint yourself with the eccentricity of the vocals. But to quote a snarling Edenfield on the chorus of Simultaneous Contrasts– “I recommend”.