Posts Tagged ‘Paint’

PAINT

The solo works of Pedrum Siadatian don’t fall too awful far from his day gig playing with Allah-Las —swiping at a kind of lived-in ‘70s aesthetic and feeling like his albums might soundtrack a lost weekend stumbling through the sands of a no account beach town out of season. Yet there’s a warbled color to his approach. The Allah-Las feel like they have a handle on modern motions. There’s a reverence for the past, sure, but still a crisp cut to their sound. Siadatian’s work with PAINT by turns comes across like a box full of waterlogged Polaroids. The colors are smudged, but the memories are still visible through the haze. That he started the band as an outlet for 4-track experiments certainly adds to the loner, private press quality that hangs over his songs like a macrame owl. Though in deference to his first outing, Pedrum has let his sequel progress past the bedroom ambiance that hangs over his debut.

The record sways on its feet, but it never falters. Siadatian saves his wooziest songs for PAINT, mixing slouched stringwork with chunky keys and crisp bass. While the private press tag felt right on target for the debut, here there’s more of a patchwork mixtape feeling. Faded cotton pop songs populate the bulk, touching on the edges of surf, but just as often he’s swaying into Middle Eastern pop, tax shelter one-off wonkiness, and a touch of packaged library music within the loose ends of the album. While the debut hit me squarely in a soft-spot for rough-edges, the quick spit-polish here actually endears this one all the more. The debut was excellent but felt like it needed just one last push. That push is wholly in force on Spiritual Vegas and it’s keeping this locked on the speakers more and more often. Las fans should flock to this, naturally, but any takers from Ariel, to Drugdealer, to The Bees should feel right at home.


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PAINT – “Land Man”

Another sun-bleached single stumbles out from Paint and it warbles around the speakers like an LP that’s been slightly cooked by the sun. The hooks and charms aren’t deadened by the slight slip of the needles, though. The ode to life on dry land updates a version that Pedrum Siadatian, penned for the 10 year anniversary LP that MexSum put out a little while back and this version is fuller with a bit more curdle in its milk. Hooked on a spiraling guitar riff that curlicues through the speakers with an irradiated swagger, the song is pretty much all I’m looking for in a PAINT tune. The LP is headed to the turntable on July 10th and it should be crawling up that wantlist after this single takes a few spins through the speakers.

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Paint – “Ta Fardah”

Good to see the announcement that Pedrum Siadatian (Allah-Las) has a new solo LP on the way under his Paint moniker. He struck out solo under the name briefly in 2010, but really kicked it into motion with an eponymous 2018 LP that perfectly fitted the sandblasted psych that the Las trade upon into an Ayers, Barrett bag with a bit of Rundgren thrown in as well. The record was produced by fellow L.A. scene-haunter and studio wizard Frank Maston, who’s no stranger to crafting a very specific ‘60s sound. He crops up again to produce Paint’s sophomore LP and that sound is still threaded through the excellent first single “Ta Faradah,” a soft-psych spinner that nods to Siadatian’s Iranian upbringing with nods to Middle Eastern psych and funk winding its way out on Finders Keepers and Soundways these days. In addition to Maston behind the boards band also features members of White Fence and Sheer Agony, giving the record a nice sheen that spills way beyond just the sounds here. Its a bump up from the last one, and I loved that, so keep this on your radar for July.



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