Strewnfield is the debut album from the band of the same name. Drawing influence and sound from across a wide range of genres and bands and featuring alumnus Alexei Romey on guitar, the album is a unique listening experience that is definitely worth it.
The opening track “Greg” introduces the listener to the basic sound of Strewnfield. It starts off softly with a lone bassline before a sudden swarm of guitar and vocals. What really stands out in these opening seconds is the shrill and dejected singing, an exciting amalgamation of J Mascis’ lethargic slacker-speak and Bon Iver’s wavering cry. It’s not long before these vocals play into a common trend throughout the album as they sink into a looming wall of sound that is the chorus. Distorted guitar chords pound and swing the listener in circles to the point of dizziness as they grab the vocals and pick them apart. Finally, as the song builds up to its outro, a collapsing drum fill gives the listener a new treat to indulge in. This opener is incredibly strong, showcasing all the layers of sound that create Strewnfield’s noisy yet shimmery style.
Another track that encapsulates the band’s sound quite well is “Little Too Late,” which features Rayley Simone singing. The song intro is a spacey, floaty instrumental—as are many on this album—with a fabric of strings like millions of planets and stars orbiting the vocals. The verses have a satisfying cadence as they descend into a duet between Simone and Romey. It’s easy to picture two alien lovers slowly waltzing to the track’s cozy groove. Later in the song a scorching solo growls softly like a star exploding, sending light across the galaxy. “Little Too Late” is the song stuck in the head of a sleepy astronaut floating through space.
While the album mainly has an emphasis on texture and creates a dreamy atmosphere throughout, there are several tracks that stray into the nightmarish end of dreams. “Limbo” is an excellent example. Beginning in a fast drum groove, the macabre groan of distorted guitars is quickly cued in. The syncopated guitar and drums call back to metal influence, and this is furthered by the vocals’ whispered tone. Eventually the overwhelming loudness crumbles before a soft fingerpicked guitar interlude. The rest is brief, however, as the static whines before it all comes crashing down with a fast guitar solo. The whole momentum of the song feels a lot like classic Smashing Pumpkins and is executed very well here.
“Filament” is the last song on the album to feature Simone on vocals, and it sees her voice take on a more haunting tone higher in the mix. Bass and guitar lay out a peaceful melody before a slick blues lick kicks in the drums and singing. It’s not long before a silence descends over the track, a short intermission before the second act begins. A thin layer of delicate silk instrumentation is spun as a duet emerges. Suddenly, a palm-muted riff attacks and breaches the mostly serene track at the last minute. Now vocals call out unrelentingly, fighting the hostile guitar solo that melts into a rising chorus of wailing that floods the already overflowing track. “Filament” is a trip from the eye of the storm deep into the heart of it.
Every good album has a slow-burn track somewhere, and Strewnfield’s sneaks in at the end. “Hectro” is the longest song on the album at 6:34. Cold vocals thaw a guitar riff as picking turns to strumming. Tension mounts before a metal riff rings out, stomping and crashing. A bass breakdown ensues as a wind whistles and floats over the rumbling. An eerie lead brings the band into a new devilish collision of noise and shouting a la Slint’s Spiderland. A dilapidated guitar outro closes the song before a flurry of instruments crushes the album into pieces.
Strewnfield is an enthralling debut that pulls from a wide range of sounds to spice up the classic hard rock quiet-loud-quiet formula. With unique vocals, unpredictable guitar work and impressive drumming, this album is a perfect peek into the next generation of the genre.
