Most New York fans of 90s rock probably have the Dandy Warhols‘ two upcoming Music Hall of Williamsburg shows somewhere on the radar. They’ll be there on Sept 19 and 20 at 9; general admission is $25, and considering that they sold out the Bell House, a larger space, last time they were there, you might want to get there early. But the Dandy Warhols’ Brent DeBoer also has an intriguing, gorgeously tuneful janglerock side project, the Immigrant Union, with Melbourne, Australia singer Bob Harrow. That unit will be in town about a month afterward from Oct 21 to 25 at venues still to be determined. Their excellent second album, Anyway, is due out shortly: there are already a couple of singles up at Bandcamp.
As you might expect from a jangly Australian band, there’s a definite resemblance to the Church. The opening track, Shameless, pairs two deliciously clangy electric guitars with a steady acoustic track in the background: when the piano comes in, the Jayhawks come to mind. Harrow’s unpretentious, clear vocals, pensive lyrics and a lusciously intermingled web of guitars on the way out completes the picture and sets the stage for the rest of the album.
Alison isn’t the Elvis Costello song but a bitter, Byrdsy backbeat psych-pop anthem about getting out of smalltown hell: Don’t Go Back to Rockville, Oz style. I Can’t Return slips swirly organ in between sitarlike slide guitar and glistening Rickenbacker jangle. Wake Up and Cry could be a folk-rock flavored Church cut from the mid/late 80s albeit without that band’s enveloping lushness. The album’s epic title track has plaintive harmonies and a slow psych-pop sway much in the same vein as the Allah-Las – who have a killer new album of their own. Another artist they bring to mind here is George Reisch, the multi-instrumentalist who’s done such elegantly melancholy work with Bobby Vacant and Robin O’Brien.
From there the group segues into In Time, adding light southwestern gothic touches a la Saint Maybe, then go completely into spaghetti western with the nonchalantly menacing desert rock shuffle Lake Mokoan. The Trip Ain’t Over has a wryly tiptoeing acoustic-electric Rubber Soul-era Beatlesque pulse. War Is Peace takes a snidely faux-gospel Country Joe & the Fish-style swipe at clueless conformists, and the US as well. The final cut, The End Has Come has a flickering, nocturnal C&W vibe not unlike the Church’s Don’t Open the Door to Strangers. You want the cutting edge of 2014 psychedelic pop, this is it. Is this album the catchiest, most melodically attractive release of the year? Very possibly. Hopefully it’s not the last one these guys put out. Watch this space for further info on those October shows.