On one hand, Durand Jones & the Indications absolutely nail a rarely-emulated style of vintage 60s soul music: the lo-fi kind. Their debut studio album – streaming at Bandcamp – looks back to the gritty sound of soul that was made in garages rather than in proper recording studios. The instrumentation is spare – purposeful, incisive organ, guitar that’s on the tinny side, impassioned vocals, Kyle Houpt’s bass way back in the mix, and drums that in this case are way too loud on the faster numbers. That seems to be an accession to 21st century production values – this band sounds like they’re great live. They’re playing the Music Hall of Williamsburg tomorow night, April 17 at 10 PM; cover would be eighteen bucks at the door if it wasn’t sold out. Pity the crowd who’ll have to find a way home without any L, G or even M train service afterward.
The album’s first track, Make a Change, has both personal and political implications – and is cut and pasted in places in the same way that samples in hip-hop get looped. It’s a production trick that’s not necessary – unlike most indie bands, this group is more than capable of playing a bunch of verses and choruses all the way through without screwing up.
Jones comes across as a lower-pitched Marvin Gaye throughout the second tune, Smile, drummer Aaron Frazer,’s shuffle beat spiced with Blake Rhein’s simple, staccato guitar, Steve Okonski’s smoky organ, and tight horns. The interweave of Jones’ sax with the organ in the brooding 6/8 ballad Can’t Keep My Cool is deliciously psychedelic, as is Groovy Babe, a murky, almost feral second-line funk tune.
Giving Up has sparse/swirly contrasts between guitar and organ and a slow, gospel-infused sway, but it’s dirty-minded. Is It Any Wonder is just as slinky and catchy, and gives Jones a chance to show off a strong falsetto. The album’s title track is its most psychedelic, with a long wah guitar solo that echoes Hendrix but also doesn’t rip him off. The final cut iis Tuck & Roll, a New Orleans-flavored one-chord funk jam that sounds like a more punk take on the Meters. The playing on this record is so spot-on, tastily retro and purposeful; hopefully the production next time will measure up. They’ve already made a live album; they ought to make another.