Tyvek (Detroit, In the Red), Fred Thomas (Polyvinyl), Violent Change
As Detroit continues its seemingly irreversible slide into the tar pits of economical despair, new traditionalists Tyvek have unashamedly taken the reins and harnessed the ambition to keep their slurred and manically refreshing noise pop bouncing around the skulls of everyone still breathing in the real, uncategorizible fumes of the original new wave. With an already impressive trail of essential releases left behind them, including last year's debut album and an infinitesimal stream of "tour-only" CDRs, the band seems to always be evolving, yet never straying far from the original cacophony that earned them a spot in the hallowed halls of modern punk's elite erratics.
And as dynamically diverse as Tyvek's recordings have become, their live set also seems to shift dramatically with each new appearance, ranging from a monstrous five piece to the currently stripped-down three-piece that easily gets the job done without sacrificing any of the intensity or brazen brevity that's earned them their fanatical following. With relentless touring, razor-esque songwriting and the ability to adapt to their surroundings without resistance, it's no wonder why they're so adept at captivating the off-center sounds of bygone-era DIY scrapings and spinning it into gold, all without ever really showing any influence of the Detroit "sound" that's known the world over. This trait alone deserves massive respect and forges their creativity in a unique light, as pioneers and as individuals who set forth to create their own thing in their own time, and in essence, are clearly executing some of the most exciting sounds in underground music today.
That sense of oating between dread and promise runs through the album, present in the drunk-dial desperation of live favorite Brickwall as much as the chopped up harp samples that propel the electronics-heavy Echolocation. The production here is some of the densest in Freds catalog, with straightforward guitar pop burners like Voiceover melting into synth-heavy instrumental segments like the glistening, Boards of Canada indebted Oval Beach. That these moments of textural ambience make sense alongside stripped-down guitar pop speaks to the overall ow and vision of the album.
They still observe the rites of their devout GBV worship, while bringing in experimental, abstract sounds à la Flying Saucer Attack or the Dead C. It washes over you with an eerily effective combination of true pop song craft and studied excursions into otherworldly noise. When it all comes to a close after a brief twenty-two minutes, you will have awoken from a baffling dream. Moments of beauty and sincerity float alongside harsh noise and submerged wordsits up to you what to make of it.
Hemlock Tavern (View)
1131 Polk St.
San Francisco, CA 94109
|Minimum Age: 21|
|Kid Friendly: No|
|Dog Friendly: No|
|Wheelchair Accessible: No|