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REVIEW’D
Them Savages & Bat Manors
BY TOM BLANTON
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During the summer months in Tucson, when staying indoors can be the only way to beat the sweltering heat, creating music is a perfect way to stay both semi-cool and productive. Ask Vail- based Matt Graham. The multi-instrumentalist spent a majority of his adolescence jammin’ with various collectives in his hometown and the surrounding Southern Arizona cultural hub.
By 2010, Mr. Graham was rarely content without friends by his side and distortion blar- ing through amps. Musicians came and went over the next two years until he was finally able to recruit a solid trio with similar determi- nation and musical taste. With the addition of axe-men Alfonzo Montiel and Jimmy Borquez taming the six-strings, and Vic Chan behind the skins, The New Classic was born in 2012.
Last year, the band initiated a campaign on the crowd-funding site Indiegogo and mus- tered an impressive $5,000 from dedicated lis- teners. The foursome used the money to enlist producer Paul Leavitt, who previously worked with All Time Low and Handguns, to assist them in recording the 10 tracks on their self- titled, debut release.
The first track, “Keep That In Mind,” immedi- ately establishes a tone held constant through to the final song’s end. The opener’s exception- al production quality also validates Mr. Leavitt’s recruitment. Mr. Graham’s vocals float above the catchy guitar riffs and clean-cut percussion without blatantly demanding the attention the melodies deserve. That said, none of the instru- ments demand more consideration than others, which constitutes a nod to Mike Fossenkemper at Turtletone Studios for a great mastering job.
On an album full of gung-ho pop punk, the ninth track, “Let Me Disappear,” slows things down a bit. Starting with soft guitar pick- ing, the vocals melt in with a breathing effect, which might symbolize the bit of fresh air the song provides for the record. The song itself, however, isn’t as memorably effective a slow jam as, say, Cute is What We Aim For’s “Teasing to Please” on 2006’s The Same Old Blood Rush with a New Touch.
There are some redeeming moments, like the guitar solo incorporated in “I Choose You,” but too few of those to elevate the record from the monotony that plagues the genre. On that note, the record seems all too reminiscent of songs we’ve heard before. The members of The New Classic prove they can write catchy tunes and are proficient at their instruments, but their debut release doesn’t really bring any- thing new to the table. The ten tracks do sug- gest the foursome is capable of it, so hopefully they branch out the next time they head into the studio.
| Tom Blanton is a recurring Flagstaffer when he’s not beachside somewhere mild. tb454@nau.edu
TS/BM Split
The New Classic
The New Classic
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Them savage boys are at it again, this time with indie collective Bat Manors at their side. Hailing from Provo, Utah, the seven piece mu- sical act recorded and supplied three tracks to accompany a trio of songs from Flagstaff’s Sav- age duo — Ben Velazco and Josh Be. Flagstaff DIY label Our Records — founded by Messrs. Velazco and Be — released the EP.
Them Savages opens the record with their contributions, the first being “Lifelong.” The song is a standard number expected of the two musicians. It might be assumed music written with only percussion, vocals and guitar could get monotonous. There is only so much that can be done with such a simplistic approach, right? Wrong.
Mr. Be has a special knack for fabricating catchy guitar riffs that are capable of driving songs through to their end. In the opener, Mr. Velazco compliments that with his perfect sense of minimalist percussion and rugged vo- cals. The song was recorded on a 4-track and the rawness of the recording process accentu- ates the tone of the music.
Them Savages fans get a rare treat on the second track, “Sun Woman.” Straying from their usual order of things, Mr. Velazco hands vocal duties over to Mr. Be. The guitarist belts out the beautifully mournful ode in his first vocal out- ing on a Them Savages recording. Fortunately, the melody, lyrics and voice all hold close to the duo’s musical ethos.
The third track is a cover of Neil Young’s “Running Dry,” which Messrs. Velazco and Be share vocal duties on. The song was originally released in 1969, and Them Savages’ take is an ear-pleasing tribute. The percussion is kept to
maraca and tambourine and the guitar strum- ming is minimal. The difference between the duo’s vocal styles is easily apparent in the cover, but they bounce off each other well — Mr. Be’s more somber voice juxtaposing Mr. Velazco’s powerful roughness.
The fourth track, Bat Manor’s first, is “Ruined Life.” It marks a drastic shift on the EP. The Utah- based band’s music is much more ambient and the recordings less raw. The turn is sharp, but it keeps the release exciting. The self-described
“spooky folk” band writes music with an eclectic mix of instruments, including, but not limited to, guitar, cello, bass, clarinet, piano and pedal steel. The resulting sound, namely on “Break- fastbb,”issimilartosomethingTheShinsmight release, and is as harmoniously handsome as anything on Chutes Too Narrow.
Bat Manor also includes a cover of Paul Bari- beau’s song “Christmas Lights.” The band slows down the song a lot compared to the original, but it works and deserves to be listened to on a calm, sunny afternoon.
The two acts aren’t similar, but that’s what makes the split diverse and far from dull. The tracks are all unique in their own right, and the final product is a brilliant mixture of raw instru- mentation and solemn peacefulness.
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