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Tag: Rei Scampavia

Grex Take Their Defiantly Uncategorizable Sound Even Further Outside the Box

Grex like to defy categorization. On their previous album Electric Ghost Parade, they toyed with ideas from psychedelia and jazz but resisted any straightforward embrace of pretty much any style. Their new album Everything You Said Was Wrong – streaming at Bandcamp – is even more defiantly (some might say obsessively) eclectic. You could call it punk jazz if you wanted and you wouldn’t be far off, but that’s only part of the picture. By no means is it easy listening (which is hardly a bad thing), although there are a lot of moments where the music is lyrical, seemingly despite itself.

The first few numbers work a Twin Peaks jazz poetry milieu, noisy and inchoate and persistently unsettled. The band – multi-instrumentalists Karl Evangelista and Rei Scampavia – use more loops, and keyboards in general this time out. The material also seems more highly improvised, and angrier: the band’s sense of humor was much more front-and-center on the previous album, no surprise considering the state of the world.

Some of the most frantic and seemingly random moments here are followed by the most cohesive and calmest ones. Math-y rhythms and Evangelista’s shrieky guitar contrast with Scampavia’s atmospheric keys. Her vocals are often autotuned, although that seems to be done strictly for sarcasm: the places where she’s not are the album’s most unselfconsciously compelling interludes. There’s also a hip-hop influence, especially in the jazz poetry numbers. All the cross-genre puddle-jumping makes for some rough segues, but this band will never bore you.

Grex Bring Their Irrepressibly Amusing Ersatz Psychedelia to Brooklyn and Queens This Month

Grex are a more epic, cohesive counterpart to Parlor Walls. The California band’s previous album was a screaming, guitar-fueled cover of John Coltrane’s A Love Supreme. It’s true to the spirit of the original in that it’s highly improvised. Yet Karl Evangelista’s guitar, Rei Scampavia’s keys and guest Dan Clucas’ cornet channel much more angst in the face of trying to connect with some type of higher power, compared to Coltrane’s fervent reverence. In a very hubristic, punk-inspired way, it’s a twisted masterpiece. They’re on tour this month, and they’re bringing their gritty assault to a couple of New York shows. On July 11 at 7 PM, they’ll be at Holo in Ridgewood for $10; then the following night, July 12 they’ll be at Pine Box Rock Shop in Bushwick at 10:30 PM for the tip jar.

Their new album Electric Ghost Parade – streaming at Bandcamp – is completely different. It’s a sardonically noisy psychedelic rock record with a little free jazz thrown in to keep you guessing. And it’s an awful lot of fun. It opens with Quicksilver, a cantering early 80s-style no wave vamp through the prism of Sonic Youth. By the time it’s over, the band have touched on punk soul, stoner metal and 60s psychedelia. Interestingly, the vocal harmonies bring to mind Dennis Davison of brilliant retro 60s psychedelicists the Jigsaw Seen.

Scampavia sings the grisly lyrics of the faux glamrock anthem TM26 completely deadpan, up to an irresistibly funny ending. Her vocals in Martha, sung to the last of the passenger pigeons, “caged in a past you can never appease,” are a lot warmer. Behind her, the band do a funhouse mirror take on Chicano Batman-style psychedelic soul, with a tasty, surprisingly straightforward chorus-box guitar solo from Evangelista.

Mal & Luma – about a couple of pet rats – begins as a disorienting mood piece, juxtaposing Robert Lopez’s spare, echoey cymbal work with squiggly electronics, some jagged guitar flickers and low-register ominousness, then morphing into a big, sarcastically garish guitar raveup. Then Evangelista has fun with phony Hendrix and phony soul in the carefree, haphazardly kaleidoscoping Feelin’ Squiddy.

Husk sounds like Mary Halvorson covering something from Sergeant Pepper. Road Trip, a duet, veers suddenly between stoner boogie, breezy folk-rock and wry noiserock freakout – it seems to be a chronicle of a doomed relationship. Scampavia plays bad cop to Evangelista’s good one in the even more cinematic Saints, which is like Charming Disaster on acid.

The album’s most straightforwardly tuneful number is Quincy, a wistful, pastoral lament – at least until Evangelista hits his distortion pedal, Scampavia hits her electric piano patch and they make lo-fi Pink Floyd out of it. Similarly, ersatz 70s stadium bombast sits uneasily alongside 90s riot girl chirp in Transpiration, before everything falls apart. The swaying, stomping Bad Cop is an unexpectedly direct sendup of religious nutjubs: “Better to die a martyr than raise a son or daughter.”

The album’s most epic, apocalyptic number is Mango Mango – with its echoey stoner sonics, off-kilter squall and allusions to artsy metal, it’s a good synopsis for the album. The album concludes with the squirrelly miniature Old Dogs, who “die slow,” according to Scampavia. This precariously funny blend of parody, assault and oldschool rock erudition will no doubt be on a lot of best-of-2018 lists – watch this space at the end of the year.