Wand has been a fixture here for some time, and while quite a few other sources have noted that the band’s sound has dramatically changed on this record, they seem to be forgetting that Wand’s sound is constantly changing. While the most apparent reason for the shift would be the shuffling of members and a slide to a more democratic writing policy, Hanson alone wasn’t one to sit idle in his riffage cranking out the same tune time and again. With that in mind, Plum is a move towards a broader audience, but one that’s bridging their psychedelic past with an ever more malleable future.
1000 Days and Golem sat at opposite ends of the see-saw, with the overt heaviness of Golem pulling equal weight with the surprising shift to psych-folk that found its way wriggling into the DNA of the follow-up. Now the band shows an open love of the ’90s vision of psych as a component of large-scale alt-rock. When grunge was king, the weirdos often snuck in under the wire. As long as a chunky enough riff went crackling through the airwaves, the rest of an album could indulge with impunity. It’s in that tradition that Plum finds itself looking to Trojan Horse their own twisted wires among the references to Radiohead, STP, The Beta Band and Afghan Whigs.
They work this though in the fizzing guitar work on “White Cat” and the country pine of “The Trap”, but even the more apparent pop ballyhoos have their Easter eggs of the Wand of old – fuzz breakdowns, the singed-edge dream vocals of Hanson, a debt to ’70s prog rock time changes and a preponderance of found sound interjections that break up the band’s gravy-coated offerings to a more hesitant listener. In that way the album is much more subversive in bringing a new generation into the fold. It’s their most polished, but also often their most potent work. In opening the band up to communal collaboration they’ve cut ties with their L.A. fuzz-pummeling past while doing that which all reviews are claiming to look for in a band: they’ve grown.
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