Dead Mellotron

After two little-known, selfreleased albums, Sonic Cathedral
picked up this Baltimore threepiece, Dead

Deadand this seven-track, halfhour mini-album of fuzzy, shoegaze-ey, underwater US indie is the first fruit of that collaboration.Dead

‘Glitter’’s seven tracks aren’t selfcontained, but linked by passages
of droney noise or delicate pianobased vignettes.Dead

The whole record has a far away, formless feel, as if it’s
been played to you from the bottom of a disused lift shaft filled
with gloopy gel. Dead

Meanwhile, the vocals are an indistinct, almost wordless afterthought; in fact you almost wish main man Josh Frazier

had taken the risky step of dispensing with them altogether,
all the better to allow the dense

layers of fuzzy guitar to breathe, as the album’s high point – the
engaging and urgent ‘Oohahh’ – is entirely instrumental and all the
better for it.

Unfortunately for Ms White, ‘Blunderbuss’ is a stormer.
Unexpectedly, though, it leaves a lot

of the White Stripes’ influences behind; here, White is seldom the
guitar hero of old – far more of the Dead

record recalls the swing and shuffle of his newly adopted hometown of
Nashville than it does the grit andDead

dirt of Detroit. Indeed, several of the album’s highlights – the dangerously
intense ‘Love Interruption’, the lilting

country waltz title track and ‘Hip (Eponymous) Poor Boy’, with its
twinkling banjos and bar-room

pianos – could’ve come straight from the Country Music Hall of Fame.
That’s not to say White has totally

abandoned his love of shredding: his spiky, tangy soloing is all over

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