Review Summary: Chavez, somewhat accessible post-hardcore/alternative rock brainiacs, second album trades the black and white extremes of its predecessor for a fully realized colored picture
The year was 1996. Alternative rock unbelievable rise to mainstream was already looking like a thing of the past. Almost every big alternative band released a bad or ill received record that year or were simply on the verge of collapsing altogether. Matador itself was going through a change afterÂ*their deal with Atlantic was terminated, which saw the beloved labelÂ*jump into a contract with CapitolÂ*for the rest of the decade.
But the beautiful thing about indie acts is that they are underground enough to go through troubled times withÂ*hardly a scratch on their face. In the year and a half between the release of the group's albumsÂ*they wereÂ*probably under a steady diet living with moles while honing their skills. Jokes aside, having John Agnelo and Bryce Goggin co-produce the whole record inevitably made it more cohesive sounding than
Gone Glimmeringp, which was formed by recordings from different dates, locations, producers and engineers (Agnelo and Goggin among them). Not only a product of great producers,
Ride The Fader also trade the stark ink-black and snow-white contrast of heavy and calm parts of their debut for more layered and complex structures which also happen to flow better.
The sequencing in enviable. One of the best ones I remember witnessing. Opener "Top Pocket Man" is beautifully textured, joyously catchy and melodic to the extent of passing the faux impression of a straightforward song, so instantly likable it is. "The Guard Attacks" is a convoluted trap of a track, sometimes feeling like its members are playing different songs altogether that somehow mixed well together. So a relief on the Pavement-like indie-ballad "Unreal Is Here" is more than welcome. "New Room" then builds the record back again piece by piece. This admirably well crafted song isÂ*the closest Chavez ever got to record a moment of epiphany. And what follows it is just mean. "Tight Around Jaws" has blood-rushing heavy guitars, drowning bass lines, uncontrollable drums and a melody coupled with xylophone touches that have the opposite effect from what they did at the opener, aside from rendering it friendly, they create a sense of disorientation that could make both hemispheres of a brain try to trade places.
"Our Boys Will Shine Tonight" is even more mind-bending. James Lo wall of a drum is paired with catchy backing vocals to strangely amusing effect. "Memorize This Face" is another well-placed moment of relief, a tiny one, home of some of Sweeney most affecting vocals and most relatable lyrics. "Cold Joys" then recovers energy with the most incendiary riff Chavez came up with since their
Pentagram Ring EP days. And if it felt like it could've stretched more, you have "Flight '96" to shut you up with some of the record's strongest melodies and an extensive jammy outro layered with feedback. "Ever Overpsyched" is a palette-cleansing little ballad played in a piano in the middle of an empty room, heard from outside - an ear carefully placed in a door.
After 1996, the 90s were giving way to the 00s. A year responsible for "Macarena" and "Wannabe" almost saw alt-rock annihilated altogether. Better days will haunt you, indeed. Being a little too brainy and coming a little too late to the scene to earn money or even recognition out of the post-Nirvana boom, Chavez are a hidden treasure those grave diggers into 90's post-hardcore or alternative rock will gladly cherish. They were meant to be stopped, but the recently released
Cockfighters EP shows that maybe, 20 years after, they are ready for round three.
