Endless Column
Chicago’s post-punk band Endless Column dropped their self-titled LP just few minutes ago, on Erste Theke Tontrager Records.
Endless Column
Endless Column’s music amalgamates flavors of lofi garage punk, surf rock, and psych-rock into a distinctive sound that’s theirs and theirs alone.
The band’s genesis occurred in 2010. The year before (2009), Douglas Burns (guitar, vocals) had moved to Chicago, where he hooked up with David Wolf (guitar, vocals). Wolf had a 4-track recorder, and the two musicians decided to lay down some tracks.
Burns explains the concept, saying, “We wanted the project to be different then the bands we typically play in. We wanted Endless Column to be a little more loose, a little more fun, and little more low-fi/garage.”
Wolf proceeded to purchase a 12-string guitar, and they added a drummer, Eric Watts, who was an MFA student at the University of Chicago. Wolf liked Watts’ atypical approach to drumming.
Describing the band’s songwriting, Burns says, “When we started writing songs we joked that our sound was like The Byrds meets Wire. It was 12-string focused ‘60s garage-influenced music with some vocal harmonies coupled with a short and simple punk formula.”
The band released a 7” demo with Jim McCann on bass. After the band’s first show, McCann was replaced by Kevin Goggin (bass). According to Burns, “Kevin joining the group pretty much marks the moment when Endless Column evolved from a recording side project into a full on band.”
“Mirror” is superb, full of a skintight crunching beat and potent jangly guitars.
Rawckus Magazing always likes to know what type of instruments bands play. Here’s the skinny on Endless Column: Wolf uses a 12-string Rickenbacker, while Burn plays a Fender Telecaster. Neither uses much in the way of mods, primarily reverb and small doses of distortion/overdrive. Watts plays a vintage ‘70s Ludwig kit, with Zildjian cymbals.
The album encompasses 10-tracks, starting with “Catching Up,” which opens on jangly, shimmering guitars flowing into a tasty post-punk melody with tints of new wave and jangle-pop running through it. It’s a bit reminiscent of The Byrds merged with The Cure, with The Byrds taking precedence.
From a subjective perspective, the best tracks on the album include “Souvenirs,” a tune swathed in subtle savors of punk-lite blended with jangle-pop. There’s an edgy moodiness the tune, especially the vocals. I love the nuanced spangled colors on the solo on this track.
“Parasite” features a mesmerizing rhythm delivered by delicious runs on the bass and tight percussion. Burns’ voice, quixotic and simultaneously dreamy, is spellbinding above the chopped-lite feel of the harmonics.
“Mirror” is superb, full of a skintight crunching beat and potent jangly guitars. Hints of punk energy pervade the harmonics, as the guitars push out raw textures of color. This track is one of my personal favorites because of its visceral force.
“Tic For Tac” is another excellent track, pulsing with tantalizing gleaming guitars tip-toeing along the edge of punk flavors. Radiant vocals harmonies ride over a compactly sizzling guitar. “Facedown” opens on a bright, glistening intro on a brawny rhythm and then segues to a rumbling drum-filled chorus rife with gritty serrated edges.
With this album, Endless Column delivers grand, impeccable surges of jangly colors and intoxicatingly visceral punk-lite flavors. These guys really have it going on! This album lays it out.
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