New York Music Daily

No New Abnormal

Tag: elyse lamb

Darkly Noisy, Unhinged Sonics and a Union Pool Show From the Resolutely Uncategorizable Parlor Walls

Since spinning off from the noisily anthemic Eula, enigmatically intense duo Parlor Walls have developed a careening, slashing style all their own. Frontwoman/guitarist Alyse Lamb winkingly calls it “trash jazz.” But it’s more rock than jazz, and it isn’t really trashy, either. While their songs often sound like they’re thisclose to going completely off the rails, they’re actually very meticulously choreographed. And as intense a stage presence as Lamb is, Chris Mulligan is a force of nature, playing drums and an assortment of keyboards at the same time.

Other bands – Mr. Airplane Man, most famously – have done it, and then there was Ray Manzarek, who played a keyboard bass with his lefthand and organ with his right. But this band’s really something to see. They’re playing the album release party for their latest one, Heavy Tongue – streaming at Bandcamp – on Feb 27 at around 10:30 PM at Union Pool. Cover is $10; Lutkie’s pulsing, noisy electronic weedscapes open the night at around 9:30. You will need to take the G train home unless you’re looking forward to hours waiting on the L platform, or you get very lucky.

In a lot of ways, the new album is a return to the sometimes sideways, sometimes in-your-face assault of the band’s debut ep, although the songs (or soundscapes) are longer. The lurching first track, Birds of Paradise is a mashup of jagged late 70s no wave, more enveloping, techy ambience (and early New Order too). They segue into Game, its blippy/buzzy contrasts filtering in and out of an uneasy swirl over Mulligan’s piledriver pulse.

Lunchbox is a loopy, unexpectedly amusing detour into industrial trip-hop, if such a thing exists, Lamb’s voice calm amid the mechanical maelstrom. In Violets, hip-hop becomes a ghost in the relentless machine, followed by the grinding 80s Foetus sonics of Pinafore.

Lamb pulls back the effects on her voice and then really cuts loose in the brooding, pummeling Spinning Gold, which could be Algiers with a woman out front. The two close the record with Rails,its spacy machine-shop sonics and wry  Supremes allusions.

A Deliciously Noisy New Free Download and Some Brooklyn Shows from Parlor Walls

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.