Review Summary: Pure Sputcore
It’s only fitting that Sput user PitchforkArms released his band’s debut album approaching his 10th Sputversary. This album reeks of 2010s Sputnikmusic fandom, from The Hotelier, Sorority Noise, Captain We’re Sinking through to The Menzingers, PitchforkArms wears his influences on his forking sleeves. What is so important about
Leave Me for the Crows is that we – the sput user database – helped shape this album. This is pure forking Sputcore; it is for every Sput user who ever rated an emo/punky/alt rock album. Now, if only belonging to this community for 10 years was enough to produce such a stellar album, unfortunately it isn’t that simple. Somewhere South of Here have real talent, and by God, Jordan Wagel can forking sing, arguably better than the aforementioned bands.
When listening to Somewhere South of Here’s debut LP, there’s a clear sense of how much thought was put into each song’s structure – every passionate high placed perfectly for a maximum tug at the ol’ clogging heart. It would be almost too easy to attribute part of its accessibility to a potent approach across a filler-free 36 minutes, but there’s something special going on here that refuses to be simplified; something that speaks to the procrastinator and overthinker in me. Misery (read: anxiety) loves company, or something like that.
Your personal struggles or insecurities are staring back at you somewhere on
Leave Me for the Crows. The first track to really burrow under my skin was “It’s What It Is”, which brings enough nasally inspiration to fill the void left by The Hotelier’s absence the last several years. It’s also packed with clever and relatable anecdotes about what it’s like to get in your own way. An oddly affecting mix of self-deprecation and hope make up the remaining batch of tunes. “July” is a fine example, Wagel sounding almost gleeful as he declares “the flowers all f*cking die when you’re not here.” Throughout “Leave Me for the Crows” he proves to be a highly competent vocalist, often flaunting his shapeshifting qualities over experiences we can all relate to: an argument in the car, a heavy night of drinking, feeling anxious and isolated. The album’s longest cut, “Dead Friends” explores the even harder-to-swallow topic of suicide over an airy atmosphere, with softer strokes that somehow feel heavier.
As gloomy as some of this may sound, there’s no doubt Somewhere South of Here had a giddy blast creating these tunes. This is evident in everything from the beastly drumming of “Walden” to the ridiculously charged guitar riffs throughout - all captured gorgeously with a production that’s crisp but never overproduced. This approach allows for an exceptional shine to the addictive choruses of both “Opposite Shores” and “Falling Asleep in Public Places.” On the other hand, the shaky, somewhat distorted instrumentation of “Pines” has PUP written all over it. Aptly described as “four dudes making punk music” on their spotify page, this rowdy batch of tunes lives up to that carefree promise while sneaking in some profound meaning along the way.
The phenomenal “Starting” is one of those tracks that feels too massive to only be three minutes long. Many of the album’s previous themes come crashing together here in an intense moment of clarity. Wagel and his bandmates rarely letting up during the song’s constant and demanding buildup – and most importantly, the brilliant payoff. It’s a fitting conclusion for an album that fits right in with some of the best cathartic punk releases in recent memory. These kinds of albums are like therapy to me, increasingly vital as I age, watching my burdens mount faster than I can tackle them. I know I’m not alone. With the help of Pitchfork’s band, perhaps we can overcome depression and shitty times together. So don’t delay. Go listen to this on Spotify, throw the band some money on bandcamp, tell your friends about Somewhere South of Here, and lobby Sowing to get the Sputpalooza going; we have a good one here.
