Adult crash

By NICK SCHROEDER  |  May 29, 2014

Earlier albums have shown a correlation between the ’Snakes most memorable songs and their most energetic ones, so it’s interesting to find Get Your Fill’s slower jams carrying equal weight. On the gorgeous “Oh Well,” a beach-poppy, inquisitive sort of love song that’ll one day sit among the band’s greatest hits, Tara’s melodies drive the track, the grain of her voice richer and deeper than usual, illustrating: “The other day / the snow falling between the rays. / Do you wanna watch it? / Are you moved by it?” When in the second chorus, she asks the same about seeing “two dogs fucking in the rain,” the absurd specificity somehow makes the feeling even clearer. Through trust, simplicity, and the diaristic attention to what might otherwise be the forgettable observations of the pleasures of adult life, Get Your Fill is a uniquely compelling sort of rock record. Totally unafraid of being boring, it’s the band’s most interesting to date.

GET YOUR FILL | released by Rattlesnakes | with Brick Mower + Cuss | May 28 | at Mathew’s Pub, in Portland | 207.253.1812 | therattlesnakes.bandcamp.com

< prev  1  |  2  | 
| More


Most Popular
ARTICLES BY NICK SCHROEDER
Share this entry with Delicious
  •   OUTING PRIVATE VIOLENCE  |  September 19, 2014
    Everybody knows domestic violence is a serious issue. The problem is knowing exactly where it lives.  
  •   FORGED FROM IRON  |  September 19, 2014
    On Bachelor of Black Arts — to borrow a phrase from French psychoanalyst Jacques Lacan—Hessian “traverse the fantasy.”
  •   FACING PROGRAM CUTS, UNIVERSITY MOVES CRITICAL MEETING TO FORT KENT  |  September 19, 2014
    If you’re not angry about what’s happening at the University of Southern Maine, it’s time to pay attention.
  •   LOW LIGHT GLOW  |  September 18, 2014
    Frank talk on the Portland nightlife scene.
  •   SUMMER WAS STOLEN  |  September 12, 2014
    From here, the strongest pull of the art season comes—surprise, surprise—from the Portland Museum of Art, where a mostly sculptural assembly of works by Aaron T. Stephan should throw a wrench at the syntax of institutional aesthetics.

 See all articles by: NICK SCHROEDER