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Oct 03, 2017 Weaves By Will Butler

Make no mistake, Weaves have no intention of letting go of the late ‘90s. And that’s all for the better. The music coming out of Pavement, Pixies, and, an obvious touchstone of Weaves, The Mouldy Peaches was bursting with fluorescent ease. Not like the rigid, pseudo-‘60s revival of the years that followed.

And Weaves, now on their second album, are resolutely refusing to wipe those smirks of their faces. “Law and Panda,” an almost surf-rock parody, jaunts to upstroked guitar while “Grass” lifts its melody from the catalogue acoustic-pop tracks we’ve heard a million times. But like a great joke, there’s something genuinely enjoyable about hearing the same phrases and melodies for the millionth time, and Weaves seem chronically aware of this.

Lead singer Jasmyn Burke’s personality rattles through Weaves’ core and gives every song a lifeblood that excuse the lead guitar contributions that are unabashedly ape Dinosaur Jr. Wide Open works best when it pushes its own peripheries. Album highlight “Scream” features Canadian throat singer Tanya Tagaq and a wonky, disorientating instrumental that relies more on percussion than it does the palm-muted guitar riffs that dull Wide Open‘s tracks with the most potential.

Title track “Wide Open” is a slow-burner with an emphasis on slow. As lovely and comforting Burke’s voice is, the banal, reverbed guitar begins to itch after five minutes; especially considering how propulsive and satisfying the track previous, “La La,” is.

For all its personality and heart, Wide Open is just too breezy in its consistency to be a certified gem. (www.weavesband.com)

Author rating: 6/10