History - Ghosts In The City

by Jennifer Perkin

New-Noise.net

Indie punk with warmth and edge

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"It’s a great sound they have. The keyboard and flute that back up vocalist Melissa Parker brings to the band gives them a warm edge that offsets the stark riffs underpinning the record."

We can’t think of another band that comes from Orlando, Florida but going by what we know of the city History do not sound like they come from there. Their music is miles from the tacky theme parks and malls of their hometown, and instead has an undercurrent of menace and bleak urbanity. Their spiritual home just might be Washington DC, as their slightly off kilter and melodic take on punk is very much in line with the Dischord style.

It’s a great sound they have. The keyboard and flute that back up vocalist Melissa Parker brings to the band gives them a warm edge that offsets the stark riffs underpinning the record. Along with that, the jazzy and unpredictable drumming is the key to their sound and at their best they are as good as their primary influence, Fugazi. Opener ‘Oh Shit It’s A Heart Attack’ is a bold statement; claustrophobic, explosive and tight it’s a brilliant example of the band meeting their potential. However next track ‘BMK and the Valley of Bats’ is noticeably weaker – vocalist Matt Caron strains to wail beyond his ability and the song could do with an edit.  On ‘Blue Khaki Dance Party’ the keys and vocoder are at the fore and the result is a bit like At the Drive in meets Air – a compelling combination. 'It's Ladies Night Somewhere' is another highlight.

While at its best it’s great, on the whole the album lacks the attention to detail and songwriting prowess to be truly essential. Perhaps it’s a little too indie for it’s own good – but if your ears are accustomed to music that’s a little rough around the edges you probably won’t mind and you’ll find them to be well worth your time.

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'Ghosts In The City' 24 Hour Service Station   By: EDDIE THOMAS / http://www.subba-cultcha.com

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It is immediately obvious to those of me with any ideas or understanding of the structure of musical history which has led us up to this point that History have something of a fetish for Fugazi. From vocalist Matt Caron’s Ian MacKaye-esque affectations to their song structure, it’s clear that when they decided to form their band they had a very clear idea of whom they would be basing the template of their sound.

This is something of an unfortunatism as once you get past the inevitable Fugazi sheen which covers everything on this album like an overwhelment blanket forged in the underground punk movement of Washington DC, there is a genuinely interesting and creative band struggling to get out. One with almost the same force and presence of Dischord Records types Fugazi… don’t you know. There are many aspects of Historys’ sound – from their penchant for some crucial flute to the rather endearing Moogish keyboards – which don’t owe so much to the obvious point of reference. These aspects weave themselves beautifully into the rest of the musical landscape, demonstrating that once you take the trouble to delve, there is much to be commended about their work. And at least the derivative bits are written and delivered with as much verve, aplomb and thought as the original lot managed. If they can escape, even to a small degree, from crowding themselves so totally into this ready-made sound and find a little more room to let their own work blossom of its own accord, we could be hearing a really special band. Finally, kudos to them for song title of 2008 so far – “Brake Threw Hour Wall Sew We Can Sea Wear The Rats Arrgh” – loving it.

 

This debut from one of the most talked about new bands of 2008 starts off with an interesting riff from guitarist and vocalist Matt Caron - who sounds a lot like Jim Ward of Sparta - and some really good work on the Moog by keyboardist Scott Ososky on the questionably titled "Oh Shit It's a Heart Attack." The use of both regular keyboards and the Moog are really good at separating this band from others like them. The next song, "BMK & the Valley of Bats," has an excellent performance from Caron who is extremely consistent as a vocalist and performer. This whole record is full of excellent vocals and wonderful musicianship, especially from Ososky and drummer Patrick O'Neal. The interestingly titled "Col. Mustard in the Meth Lab w/ a Sledge Hammer" is almost epic and grandiose in its approach. While some people might want to possibly compare History with Pretty Girls Make Graves, it just can't be seen because the keyboards are insane as hell. All over this record, the keyboards stand out in song after song, which makes the listener want more from each song, which is a good thing to strive for.

The one weak song, another with a strange title, "Hot Dog in a Hula Hoop" tries to keep the energy of the record going but it just falls flat, relying to much on screaming and not enough on singing. Throughout the record, at least with the Moog, one can hear the slight influence of bands like The Rentals on songs like "Far From Being an Obstacle"; the keyboards weave in and out and the backing vocals of keyboardist Melissa Parker help the song attain a new level of excitement.

This record is one of the best debut albums I've heard in a long, long time and all the hype around this band is definitely worth it. One listen to this band and you'll be hooked