Shot Forth Self Living
Shot Forth Self Living makes reaching its melodies difficult. Medicine place sharp distortion and persistent noise firmly at the front, with soft voices behind them. Yet these remain recognisable songs. The guitar parts give the music tension and a distinctive shape. Noise belongs so closely to the compositions that treating it as a separate effect becomes difficult. The roughness has a musical role.
One More establishes that relationship immediately. Its opening stays with a scraping guitar sound before drums and bass bring the whole thing into motion. A much gentler song emerges beneath the activity. The track takes considerable time, but the rhythm's arrival changes how the guitars work. Distortion gains something to push against rather than simply filling the space.
Aruca likewise chooses an uncomfortable entrance. Movement then increases and a dance rhythm becomes important. Beth Thompson's soft singing offers a clear contrast with the sharp guitar layer. You need not follow every word to understand that relationship. Voice and noise affect each other even when the melody does not sit clearly above its surroundings.
Queen Of Tension turns a calmer movement into much busier interplay between drums and guitar parts. The brief contrast works well. Christmas Song maintains the connection between recurring guitar figures and singing over a longer closing stretch.
The experiments do not always form a convincing whole. The sharp sound can become tiring, and finding a melodic point of entry sometimes takes effort. This record requires more than an appreciation for gentle dream pop. Anyone willing to accept its roughness will find a band making interesting connections between sound and song. Shot Forth Self Living works best when both remain audible together.
