Local Record Review: 'Worship the Future' by the Deepsea Goes

Categories: Beat Blvd.
the deep sea goes-001.jpg
The Deepsea Goes

The Deepsea Goes

Worship the Future
http://www.thedeepseagoes.com/

The OC/LA-based the Deepsea Goes, who play a record release party this Tuesday at Detroit Bar, are looking to reclaim a bit of momentum after some substantial hibernation from the studio. Worship the Future, their ninth formal release since 2007, is their latest offering in a couple years.

The time between the ellipses of their recording history must've added a touch of cheekiness to the track listing sensibilities of the dark, post-punk band. That's one way to explain the interesting song naming method on their new, five-track EP. Each of the song titles--"What," "Are," You," "Waiting," "For?"-- combine to form that compelling question. And it's also one that could just as easily be asked of the band, who we haven't heard much of since the unveiling of 2010's synth-tinged post-punk single "All is Ripe."

Given the evidence in their unique fashion sense displayed in the above photo, we'd be saddened to think that a semi-clever track listing gimmick would be the high point of the album's creativity.

Luckily, that's not the case -- there's an enjoyable moodiness at work on Worship, the kind of post-punk derivation that remains catchy while steering away from predictable mechanisms like grinding, distorted noise and ominous atmospherics.

"You" is the strongest song on its own; a swift, moody verse that suddenly builds into a loud, woozy chorus before cutting  to a new verse that hinges on the fluttering beauty of tremolo guitar tones. But "Waiting" runs a close second, thanks to a nervous heartbeat pulse and hybrid between melancholy shoegaze and epic metal guitar.

There's also a very raw, tactile quality in the recording, the interplay of cymbals and feedback on "What," calling to mind the subtly strong production of both Black Sabbath and Joy Division, which is as much as the music can in its own right. The dynamic tempo changes during on "Are" force the song into abrupt, stop-and-start shifts, at one point quieting down to a low rumbling murmur after staccato slashes. "For?"'s evolution graduates from quiet guitar plucking to a visceral, noise rock explosion, rounding things off with a merciless squall of noise and heavy handed effects, all in the space of a few minutes. That definitely sounds like a skill worthy of being worshiped now that the band is reemerging.


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