Lithics

When it comes to post-punk these days, I’m a fan of the brittle, parched-throat approach that’s stuffed with bulbous bass and crimped wire guitars. Stow your smokey-eyed goth crooners, I want those guitars to lacerate and the atmosphere choked to hospital waiting room levels of forced air. Portland’s Lithics serve up just the thing, a satisfying album that’s scoring and snapping hooks off like drywall – rough-edged and choking the listener on their dust. The band is bred on a cocktail of The Contortions, Galaxo-Babies and Au Pairs – hiding rusted hooks in their surgical slice with ill intent. The approach is just enough to let the listener wander close before the sucker punch of Aubrey Hornor’s ball peen hammer vocals knocks them sideways.

Perhaps only labelmates Taiwan Housing Project or British dance diviners Shopping are working in quite such frantic strokes these days. But Lithics, unlike their contemporaries in label parentage or their UK counterparts don’t let on the sly wink that there’s fun to be had. Not that you can’t move to Lithics – you can and should, but they inspire a top-button tamped down, full-body jerk that feels manic and draws looks of concern from other occupants of the mashed mass audience. There’s beauty in their dissonance and order to their entropy but there’s menace in their strings and you best not take them too lightly.

If all this sounds like it’s not fun, then perhaps things are too kush on your side of the couch. Anxious energy throttles the sinews and Lithics know just how to draw it out. They’ve created a perfect conduit for shaking the itch that threatens to catch in the lungs. Lithics know you either face the panic head-on or let it consume you. Your choice I suppose.


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