ALBUM REVIEW: The Scurves Create A Place to Drown
“It feels like in an alternate universe, this could have been a collaboration between Sonic Youth and Lou Reed…”
The Scurves’ second full length starts out with one of the dirtiest, delta-bluesy, rock riffs I have heard in years. The twangy tremolo of the guitar has a tone that is reminiscent of an electric shock. It sounds as if the hum of streetlights in a sleepy southern town all came to life in a cacophony of music. Simply put: it sounds dangerous.
Before I had even finished that thought, Scurves frontman DJ Miller came in with the lyrics to “Rattles Around Your Head”, and seemed to be replying to my thoughts by stating, “Who am I to disagree?” The lockstep of the rhythm section on this album opener is also very impressive. Bassist Levi Jennes and drummer Dan Sorenson are so on time, and with such an effortless ease, that it easily drives the song, allowing the guitar work and vocals the space to shine.
Track two, “Cut From The Same Cloth”, strikes a much different tone. While “Rattles Around Your Head” had the aura of a seedy western showdown, this one starts right off with a pop-sensibility. While the bass and drums are still magnetically locked together, the guitar has a more gentle tone. The grit is still there, but the technique that Miller is using on this song is much lighter and inviting. Hints of the 1960s “mod” scene can be felt in this one, with more than a dash of ‘80s post-punk. It feels like in an alternate universe, this could have been a collaboration between Sonic Youth and Lou Reed. It is unique enough to stand on its own, but the nostalgic hints of influences really stand out here.
“Don’t Give In” builds off of the nostalgia with an intro that pulls from The Doors and maybe just a dash of Frank Zappa. This one builds slowly, but by the time the first chorus arrived, it was clear that this anthemic rocker was meritorious enough to transcend any previously stated influences.
I’ve always been a fan of bands throwing in an instrumental track within an album. To me, it shows the ability to tell a story, or convey a meaning or message without words. It is typically not an easy task, but The Scurves pull it off beautifully with the short, but incredibly moving, “Fairy Tale”.
Coming in at just under 3 minutes, “Fairy Tale” is the track I found myself listening to more than any others on the album. Like a film that has enough nuance and layers to treat its viewers to something different upon every screening, “Fairy Tale” revealed more of its story to me every time I listened. It's lush, ethereal and cinematic. A mid-album instrumental track that I assumed would be a nice bridge to the latter half.
What I did not expect was another instrumental, and an even shorter one at that. “Afloat” is just over a minute long and while it starts sweet enough, there is an underlying ominous feeling that creeps in towards the final seconds, as if the song begins with a joyful walk down a rainy street, and ends as you hear a clown laughing from the sewer drain.
Maybe it’s just my horror-addled brain, but I think “Afloat” would be great in a movie trailer for a certain clown from Derry, Maine.
The last part of the album is a solid mix of rock, blues and maybe just a hint of some funk-sensibility. The final track, “Broke the Silence”, may be the most vulnerable. It is a stripped-down soliloquy that speaks of pain, troubled relationships and even violence. From its subdued, acoustic intro, to the build up and soulful refrain of “I lied to myself again”, you can feel every bit of pain in Miller’s voice. It feels honest and cleansing.
A Place To Drown is full of sorrowful laments, carefree rockers and adept instrumentals. With a rhythm section that is untouchable and a frontman with a million genres up his sleeve, The Scurves are cementing themselves as a force in our local music scene, with the ability to extend far beyond.
The Scurves’ new record is available now on all major streaming platforms and Bandcamp.
