Heartworms EP Review: A Comforting Notion
(Speedy Wunderground)
BY JORDAN MAINZER
A Comforting Notion, the debut EP from Jojo Orme’s dark dance project Heartworms, is the platonic artist’s statement. That is, the four tracks that make up the South London artist’s release are uniform in their aesthetic, cohesive in their themes, and provocative in their visualized form. Released on Speedy Wunderground (and produced by label founder Dan Carey), the record is classic goth-punk: wiry guitars, metronomic drum loops, vocals that elevate from whispered sprechgesang to shouted chants. “Ugly is the man, he’ll chew his eyes,” Orme sings, sinister and foreboding. On word workout “Retributions of an Awful Life”, she bounces back and forth over harmonic bass wobbles, glassy synths, and propulsive percussion, reciting lines like, “Very stressed, unimpressed / This is fun / In fact, it’s keeping me awake,” like she’s going down a checklist, yet fully knowing that moods are anything but simple, often multitudinous.
Best, Orme is aware of the genre’s history and what came before her. Her interest in military and aviation imagery is legit, having started volunteering at The Royal Air Force Museum, and she appropriates it without succumbing to the genre’s dabbling in fascism. In essence, she ironically finds a sense of individuality in donning uniforms while performing, something distinct from the all-black palate of her forebears. Taken in context of a song like “24 Hours”, a dissociative track about Orme not fitting in at school, Heartworms’ at-times monochromatic vocalization and percussion is a powerful push-pull between conformity and individuality. Orme named the band after the 2017 album from The Shins, whose sunny melancholy is as far a cry as possible from Heartworms’ grey soundscapes. Funny enough, James Mercer’s father was in the U.S. Air Force, and while that has never really made it into the New Mexico band’s music, the factoid is the cherry on top of Heartworms’ mood board, unexpectedly deep and wide.
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..:: What Else Is There? Weekly :: 2024.02.08 ::..
// Holly Macve delicately conjures a backdrop of gothic country to muse upon the circle of life and how the past just keeps getting longer on Time Is Forever.
// Burial takes us on a thirteen minute journey that traverses through mysterious shadows in search of heavenly redemption before ultimately leading us into a dark rave on Boy Sent From Above.
// Eliminate and Frost Children team up to define a new acronym about their romantic intentions while dancing around to some energetic hyperpop on SMSOU.
// Everything Everything use their signature falsetto and bright guitar and synth tones to tell the story of all the frustrated has-beens out there on The End Of The Contender.
// The Decemberists recruit James Mercer of The Shins for backup vocals as they skip together across strangely cheerful cemetery celebration tune on Burial Ground.
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James Mercer
Happy birthday James Russell Mercer, frontman for The Shins!
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There is hardly a moment in my life
When I don't recognize the slow decline
It's a gift and maybe it's a curse
Don't know which is worse, hard to define
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BROKEN BELLS = James Mercer (lead vocals, guitars, bass, keyboards) + Brian Burton aka Danger Mouse (keyboards, bass, drums, production)
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Broken Bells presenta Saturdays, nou senzill (2022)
Broken Bells presenta Saturdays, nou senzill (2022)
@broken_bells Gènere: #alternativerock #psicodelia #cançodeldia
Broken Bells, el projecte paral·lel del senyor James Mercer, també conegut per liderar els Danger Mouse i The Shins segueix prolífic com sempre.
Una peça sorprenentment psicodèlica, que et fa viatjar pel desert.
Formarà part de l’àlbum “Into The Blue”.
brokenbellsmusic · Saturdays
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“Una oda de géneros y décadas a las influencias musicales compartidas del dúo, desde The Beatles hasta Pink Floyd, desde la psicodelia de los 60 hasta el rock de los 70 y AM Gold, desde la nueva ola de los 80 hasta el trip hop de los 90, y mucho más”, así definen “Saturdays”, lanzada hoy por el dúo Broken Bells, James Mercer de The Shins y Danger Mouse. La canción está en “Into The Blue” (7 de octubre, AWAL).
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