TUESDAY, OCTOBER 21, 2008|
Loud and unapologetic, Kansas based Boo and Boo Too play a brand of raunchy shoegaze rock that taps into the noisy pulse of old New York City no wave. Their full length debut, No Tempo (Ironpaw/Chomp Womp) is a feedback laden monstrosity that can be likened to The Walkmen, but with an undeniably charismatic sprinkling of indie-pop charm. It's a sound that's both tirelessly aggressive and darkly robust, like a double shot of expresso Americano filtered through with Red Bull-- sugary sweet and distinctly heart pounding.
In fact, the name No Tempo is as contrary a characterization of Boo and Boo Too's sound as you can get-- everything is built around the rhythmic decimation of the drum kit. It's probably as loud as music can get while hanging on to the finicky distinction of staying poppy. The album's title track, por ejemplo, is a slow, ghostly build that eventually leads to what has to be an absolute beat down of the drums into a pile of skin and scrap wood. Similarly, the album's opening track, "I Know Nothing's All Right", is a herky-jerky meshing of ambient drone and an anthemically roaring chorus reminiscent of early Wolf Parade. "Bottom of the Lake" offers a pounding bass drum tempoed underneath a thick fog of reverb soaked guitars that launches itself into a manic hodgepodge of drowning vocals and indecipherable noise.
But what makes No Tempo such a damn listenable to record is that Boo and Boo Too are able to draw from several areas of music's past and blend all their influences into a sound that's familiar before it's fresh. It's loud without being obnoxious, current without being too trendy, and vintage shoegaze without being patronizing. In its entirety, No Tempo is as straightforward an offering of bottled manicisim as one can get. - chris gayomali