In this
season of mists and spookiness, now is the best time to discuss Wax Idols. As
much as I hear different influences through punk, post punk, and riot grrl or
even specific vocal influences like Corin Tucker or the occasional Joey Ramone,
I’m not interested in comparisons as a way to critique. Hether Fortune is more
than capable so let’s leave it at that. There’s only one Siouxie, one Blondie,
one Wire – so let there be one Wax Idols. I will single out influences, but
only to indicate how well the band uses them. Capable musicians refine with
intelligence rather than reproduce mechanically. Wax Idols is exciting because
of its talent not its record collection.
No
Future is quite a winning record because it’s an exciting sprint through their
strengths. It’s also an incredibly fun album because of its lack of bullshit. The
point of the debut is announcing itself and doing so without fuss. Sparse
production and bare arrangements like any great, classic punk record of yore
are evident much to its power. “Dead Like You” is a fine introduction with some
strong guitar playing, but the next song “Hitman” really shows the band’s
style. The song builds to two climaxes: the exclaimed “Let’s go!” (who on earth
wouldn’t want to follow?) and the closing repeated “Kill ‘em all (kill ‘em kill
‘em).” Already two songs completed and you want to hear more – or hear them
again. Another blast of the same energy ending with a frustrated scream ("Dilno") and the
record has made its challenge. Then you get "Gold Sneakers" with “I I la-la-love you” as
its refrain – quite a change, but a welcome one after the opening intensity. “Nothing
At All” features an acoustic performance that gives way to the band roaring
back. “Human Condition” opens side two with some feedback reminiscent of
latter-day Mission of Burma. A manifesto on social torpor, it’s followed by a more
dynamic evaluation of the first world working week, “Bad Future”. Engaging and unrelenting, whatever the lyrics each song is excellent.
Truly
amazing is the cover of Wire’s “Sand in My Joints” because of how the band
punches it up. It bristles with even more energy and attitude than the
original. It’s a great instance of musical scene chewing and it works so well.
Then with easy enthusiasm, they close with one of the record’s most exciting
songs: “Grey Area”. This is a wonderful anthem showcasing No Future's strengths.
Discipline
+ Desire then came as quite a surprise. Stylistically, it felt like the band
had jumped from The Damned (Damned Damned Damned) to Interpol (Turn On the
Bright Lights). That said, by no means is it a sophomore slump. Actually, the
increase in quality is more pointed as it’s a forward stride in imagination as
much as sophisticated production value. The element that stands out immediately
is the drumming. A feature of both records, it’s refreshing to hear a band with
such a great sense of rhythm. The guitar feedback and singing prove to be even
more explosive. It’s a superb blend of strengths that make the album such a
tour de force.
Discipline
+ Desire is an appropriate title in terms of album sequencing: the first half
aggressive and the second half more seductive. The Teenage Jesus vibe that
announces the record – aggressive and stabbing a la “Orphans” – only begins to scratch
the surface of new influences as well as unique talents within the album. The
menace of side one begins with “Stare Back” as it stares into the recesses of
humanity. (A typical day at work?) The playing like the singing is cold and
imperious. Never aloof, the songs are exciting and brash much like No Future.
It culminates in “Scent of Love” with a remarkable performance worthy of Jarboe
circa Sacrificial Cake. The second side eases back on the sonic assault, but
stays strong on its influences. A less abrasive side of songs, they’re among my
favorites. Chief among these pleasing characteristics is the ballad-like nature
of the songs. Engaged with the subjects of the songs, the singing is more
introspective and highlights the beauty of Fortune’s voice. This culminates in “AD
RE:IAN” with some excellent Daniel Ash-like guitar playing. A contrast to side
one, the nuance in the guitar playing is beautiful to hear. Ending on a
high note much like No Future’s “Grey Area” is the introspective “Stay In” which caps the many strengths
of the album's new directions. Self-seriousness is no crime so it’s nice how the album ends on a
silly note with an unlisted track called “Dead Boys Can't Say No”. Part of me
wondered if it was a cover of some lost 45 Grave song. It takes some confidence
to end such a dark, brooding record with dry humor like this.
Which
album is the best? I think this is the wrong question - especially as both
albums showcase different, excellent sides of the band. No Future says "Kill 'em all" and Discipline +
Desire says "Dethrone them all" with equal amounts of malevolence. The reason for artistic
change is continued growth and here Wax Idols shows its talent. Consistent to
both records is the quality of singing. The singing is genuine and effective
without being too earnest or distant. No Future is effective to the point of
little nuance although that works very well to show where the band and the songwriting excels. Clipped, but not diffidently so. The emotion carries each song
to provide extra force. No Future, contrary to its title, explores what the
band can do. Their next record, however, threw down the gauntlet. Discipline +
Desire is colder, but the vocals have a richer palette. Bewitching, nuanced,
and layered in a way that only practice and confidence affords. She knows that
we’re listening. On the strength of these two albums so will we.
