Word: cymbals
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...mellowed; he’s not his former, razor-sharp self.” But this is too critical. His drumming rang with every ounce of his vast experience. Perhaps most telling was his playing during a bass solo. Haynes chose to pare his palette down to just one cymbal. Stripped bare with nowhere to hide, he shone with unobtrusive inventiveness, sending the rhythm skittering into ever more complex patterns. Haynes is still very much the real thing...
...segues into the first track, “Meridian,” which continues to be a testament to the group’s talent. Shearwater expertly create a rich texture through guitar and multiple percussive instruments, including bells, while Meiberg lyrically juxtaposes the peaceful ocean with violent warfare. Cymbal rushes wash powerfully over the listener, simultaneously invoking the sound of ocean waves and exploding bombs. The effect is powerful and thought-provoking, and if the rest of the album was as inspiring as the opening, Shearwater would have created a masterpiece...
...original composition, “New York Attitude,” with Kitagawa and Blake. It was pure, muscular, sparkling, straight-ahead jazz—Blake shone throughout the night, but here he produced an especially lively, just ahead-of-the-beat, sound interspersed with snapping rolls and cymbal brushes that propelled the frenetic tune along. Kitagawa, with his calm demeanor and walrus mustache, evoked a Mingus-like sprightliness in his bass playing, switching between slow and fast in a messed-up blues solo. Barron himself remained a steadfast leader throughout, grounding the trio with bluesy riffs and rippling over...
...album’s first single and standout track. A whirlwind of catchy guitar solos and pounding drums, it’s as fun to listen to as “Joker and the Thief” from their debut. Nearly 64th note bass drum and cymbal beats driving the entire track, it’s hard to keep up. Arpeggios of electric guitar fill a chorus of forceful, ominous lyrics: “She don’t mind / She got the time / I see the new moon rising...
...music as good as its best. The expectations around every Dinosaur Jr. album are, happily the same as ever: variations on the same things at which the band has always excelled. Mascis’ voice still quakes, perhaps more age-appropriately. Murph’s drums still explode with cymbal-work. Barlow’s bass still fills out each song with wall-like intensity. “Ocean In The Way” glides with the same freefalling, if more sedated grace of the vintage “Sludgefeast.” The more extended pieces...