So, finally, Louisville's Workers have released a follow up to 2009's Self-titled LP. How delayed is this? Well, I blogged about them two blogs ago- that's right, I've gone through more platforms than they have releases.
I have to warn you that I'm on the first listen here- It just became available for purchase last night.
So, what's my first impression- well, it comes out of the gate swaggering. The first track "Get Wet" literally has so much swagger it's almost scary- it reminds me a little of early 1980's Butt Rock. When you get up to Quiet Riot levels of swagger, it's a bit scary. Fortunately, the next two tracks, "Everybody" and "I Hunt You" dial it back down to the joyous indie Rock major key struts that I enjoy- like the Kings of Leon on a Prozac and Viagra bender. That's not to say that there's any kind of downer, here, yet- I haven't heard a track I dislike, just saying it's not quite the white knuckle little-too-amped hyperactive attack of the initial impression.
From there, we go to two Black Rebel Motorcycle Club type of Happy drones in "Lost and Found" and "These New Blues". I think it's obvious that I dig that, but a short explanation- it's what I consider the indie rock early 21st century version of the Blues- it's downcast and dark, but it serves to lift you up. Which makes the sheer Punk Rock blast of Our Many Thanks a bit unexpected. Not unwelcome, but a shock to the system. From there, Acadaca mines the U2-meets-Jesus and Mary Chain anthemic sound they did so well last record. Likewise "Marks" is Boy-era U2 made into a snarling kind of shoegaze sound. I think the word is "Post Punk" but it's more modern and aggressive than that might imply. The next track "A Dance", if given female vocals and a bit more studio glass could pass for a Slowdive track, so yes, it's a good shoegazey mellow wallow. Finally, "Resolutions" gives reference to last LP's "Revolutions" but plays more organic and southern, with some serious gospel overtones. All in all? A more than worthy follow up, and I hope that you like it, too- because if enough people like them, they might get enough cash to tour, and then, maybe I could see them live without have to drive halfway across the continent. Yes, I'm selfish, but i think everyone would benefit, not just me.
If this reads like a press release styled puff piece review, so be it. I think that Workers are an extremely under-rated, under-exposed unfairly hidden gem of American Independent Rock. They should have the audience that certain bearded southern gentlemen enjoy, who do nothing but jam onstage, then title their non-compositions. ( Can you tell that I'm not a big fan of Kings of Leon, My Morning Jacket and a few others?)
I think we need to get Stereogum and Brooklyn Vegan, and Pitchfork, and Consequence of Sound, and Magnet and Blurt and The Big Takeover on board, because short of that, Workers will be denied their rights. ( You see what I did there? Yeah, I know, Lulz...)
Glad to see SOMEONE reviewed this. I didn't even know they had put out a new album until about a month ago, and found it on Spotify (yeah, it's actually on Spotify, surprisingly enough) because one day I wondered "What are Workers up to nowadays?" I think a lot of it has to do with their lack of online presence in an age that demands it.
ReplyDeleteThe album is definitely a different feel from their previous effort. Much like you I was initially caught off guard by the Butt Rock first song, but perhaps it's because I had forgotten how versatile Workers are. Once I got into the meat of it, I remembered they covered a LOT of ground on their last album, so a little 80s rock swagger isn't out of line for them, nor is it indicative of the rest of the album. "Lost and Found" jumps out much in the way that "Human Resource" did on their self-titled, and by the time "Our Many Thanks" kicks into gear I really started feeling the general vibe of the album.
Once again they cover a lot of ground, but it's different ground than before. I like it. I wish these guys got more press.