Guitarist/singer Alyse Lamb is best known for her work leading Eula, who’ve generated a ton of buzz over the past year, and deservedly so. But she has another project, Parlor Walls, with her partner Chris Mulligan. How do the two bands compare? Lamb is equally adept at noise and melody, and has a very distinctive sound: generally speaking, Parlor Walls is less minimalist and tends to be more straight-ahead, rhythmically speaking. You could pigeonhole both bands as postpunk or noiserock, but they transcend both labels. Parlor Walls have a debut ep up at Bandcamp as a free download and have been playing a lot this month. On Wednesday, June 10 they’ll be at Alphaville, 140 Wilson Ave (Snydam/Willoughby) in Bushwick, take the M to Central Ave. On June 25 they’ll be at Cake Shop at 11 for $8. And Eula will be at Palisades on June 13 at 8 for $15 followed by what looks like a big gay meat market night.
What does the Parlor Walls album sound like? About eleven minutes of corrosive fun. The guitars distort into the red and crack up, or throw off jagged metal shards of reverb. Creepy organ lingers back in the mix like a stalker, set against an explosively tight beat. Mississippi, the opening track, hints at an industrial/drone vibe before hitting a punchy, bristling, tastily chromatic My Sharona groove. Lamb’s high, insistent vocals on Bon Nuit could imply seduction, violence or both over a menacing major-on-minor guitar/organ backdrop that goes completely off the edge at the end of the verse.
Cover Me, with its skronk and fuzz and feedback, is probably the closest thing to Eula here. The final cut is Seeds, conjuring up Sister-era SY in about 100 seconds of stomp. Fire up the wifi and grab this tasty slice of the good side of Brooklyn, 2015, while it’s here.