Posts Tagged ‘Wooden Shjips’

Wooden Shjips

With certain types of recreational drug use, or even meditation for that matter, there’s a point when the subject becomes detached from their current surroundings – a shift in time, an outside looking in feeling of calm introspection that lets slip the boundaries of pressing matters. In this stasis, somewhere between numbness and bliss, exists V the latest record from Wooden Shjips. The band seems to toss around that this is their “summer record” and to be sure there’s plenty here that compliments the staunch humid nights of mid-August swelter – Ripley Johnson’s guitars dripping through layers of wet reverb like condensation down a can, tempos slowed to a molten crawl, and bass that can’t be contained by rolled tight windows. More than merely a seasonal accoutrement, though, this record is a balm, a respite, a state of mind – or in the spirit of summer – a vacation from the current mudslide of daily life that threatens to consume us all.

With V the band has softened the focus on its trademark sounds – the fat, motorik rhythm section that slaps like waves against the breakwater, the sunlight suffused guitars that sparkle and ripple in equal measures and Johnson’s vocals that billow and diffuse in a cloud of vapor overhead. The enveloping warmth of this particular iteration of the band has added a few new moving parts as well. Are those strums peeking out of the haze on “Already Gone?” Were there always this many slinking keys in the Shjips’ universe? The vacation vibes bring on a prog haze that holds over from the lighter half of Moon Duo’s last experiment in duality and it feels like a missing puzzle piece found under the couch, perfectly cut to relieve the anxiety that was created in its absence.

Along with Cooper Crain (Cave, Bitchin’ Bajas) the band has created a perfect headphone record, adding further to the escape hatch mentality of the album. The aforementioned elements dance across the headspace in sketchbook animation while the bass acts as a barrier to the worries, realities, information overload and creeping dread that’s become a constant weight in 2018. For forty-two blissful, nebulous minutes Wooden Shjips let the listener breathe before the waters rise again. Best to gulp in a few last breaths, drop into the airtight bunker b ‘n b of sound and enjoy because those waters show no signs of slowing any time soon.





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Wooden Shjips – “Staring At The Sun”

Looks like this year some perennial faves are cleaning up, with Amen Dunes already ditching any trappings of fuzzed psych for a dose of refined pop drippings, and now the cataclysmic scuzz of Wooden Shjips takes a back seat to languid puddles of guitar laced with strums on their latest. Actual strums on a Shjips track, I think that may be a first, but while the fire may not be the focus on “Staring At The Sun” there’s still plenty of psychedelic drip happening here. Between Moon Duo and Wooden Shjps, Ripley Johnson’s always been able to cull from the “Planet Caravan” school of warbled psych, but here he leans in hard. The guitarists can be heard flecking the track ever so slightly with growls of guitar but generally finds himself in the reclining position, going full Spiritualized to create a track that blossoms with bliss.

I’m all for a band’s evolution so this side of Wooden Shjips comes just as welcome as their clear-cut, Earth-mover gyrations. Interested to see if the full album submerges itself in the same cool waters, but for now this one is hitting very hard.


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Moon Duo

As the sequel, or rather, better half to their Occult Architecture Vol.1 from earlier this year, Vol. 2 acts as the softer side of the band’s motorik psych-punk universe. Where the first volume was steeped in anxiety, tension and darkness; the second volume is by turns blissful, celebratory even. Its still chugging along with a chainsaw grind and lysergic stabs of guitar via Ripley Johnson, but now the tone is relaxed and surprisingly languid. The albums form a duality or a complete picture, but taken on its own merits, Vol. 2 is still pushing into Moon Duo’s best work.

There are strums, I think perhaps a first for Moon Duo, or even Wooden Shjips’ catalog. There are genuine moments of resplendence, flipping the band’s Kosmiche switch from throb to fizz. The pair submerge into a milky bath of sound that’s pulsating with light and love and all the Springtime green feelings that may have eluded their grasp in the pursuit of Krautrock edge in the past. Instead, this is pure dreampop, a silken submergence into ionic bliss that can’t hold back its own giddiness. Sanae Yamada’s synths emerge as a key component here, floating in waves of magenta majesty primed to induce shudders in the listener. As part of the band’s Yin and Yang concept, this fills the bill nicely, but even left to its own devices, it’ll sate your hunger for higher consciousness grind for months to come.




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Moon Duo – “Cold Fear”

It’s a good day when there’s news of a Moon Duo album on the horizon. The pair have relocated from San Francisco to Portland and they’re turning seasonally affected mood swings into cold-hearted psych with a motorik heart and plenty of icy atmospheres. The track comes as the first taste of a projected two part album that spins Yin and Yang into counterpart albums of light and dark. “Cold Fear” is, naturally, from the darker half, Occult Architecture, Vol. 1. It’s an itching vein of synth fuzz heavily medicated with the Absinthe cocktail of Ripley’s guitar lines. Hushed and secretive, the vocals add a layer of mystery to this cold-wave killer while the lock-step pulse pushes the blood to a tight boil. The band has always lent itself well to this darker current and they’re at the top of their form with this one. Curious though to see how they temper the lighter side in Vol. 2. Lots to come from Moon Duo in 2017!




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