Greys – If Anything (Carpark Records)
Greys began their recording career in the same way that many of the more savvy bands in recent underground rock, such as Code Orange Kids (now Code Orange) have: by releasing several EPs and short splits, and whittling away at a specific sound, before coming out with a polished debut album on a label with some clout. For Greys, this formula has resulted in their first album, If Anything, being distributed by Carpark Records in America (featuring the likes of other rising rock bands Cloud Nothings and Speedy Ortiz) and Buzz Records in their native Canada.
Greys – If Anything (Carpark Records)
Greys began their recording career in the same way that many of the more savvy bands in recent underground rock, such as Code Orange Kids (now Code Orange) have: by releasing several EPs and short splits, and whittling away at a specific sound, before coming out with a polished debut album on a label with some clout. For Greys, this formula has resulted in their first album, If Anything, being distributed by Carpark Records in America (featuring the likes of other rising rock bands Cloud Nothings and Speedy Ortiz) and Buzz Records in their native Canada.
Greys’ earlier material, while certainly enjoyable, sometimes ran the risk of speeding by too fast, each song packing in a litany of different parts, multiple genres, and therefore even more influences. While impressively varied, Greys’ blend of 90’s noise rock, 80’s post-hardcore and post-punk, as well as some shoegaze, often came off as slightly faceless in the past, as most songs did not feature recognizable hooks to tie together all of the musical ideas flying past the listener’s ear. However, on If Anything, Greys has done something impressive, in that they have simultaneously streamlined their approach to songwriting, and yet, have retained all of the ferocity and eclecticism of their early material.
Key in this transformation is singer/guitarist Shehzaad Jiwani, whose singing used to mainly consist of a raspy yelp, with the occasional set of melodic lines being incorporated. While his approach to vocal performances on previous releases was more than competent, the tonality that Jiwani adds to his bark on this album gives his singing a very distinct sound, that melds with the dissonant leanings of the music in a unique combination that should prove both refreshing to fans of heavy music, and perhaps more accessible to those not attuned to more abrasive rock. This fresh take on vocals also assists in making lyrics more understandable. That aspect, combined with more easily digestible song structures, creates an opportunity for stronger hooks, which Greys capitalize on with gusto.
The album leads off with the extremely catchy, compact “Guy Picciotto.” It serves as an appropriate introduction to a record whose general tone is somewhere between earnest and cheekily sardonic. The title of the song, “Guy Picciotto,” is the name of one of the singers for Fugazi, who also the singer for Rites of Spring; two pivotal 80’s post-hardcore bands. While Greys undoubtedly owe a great debt to Picciotto and his music, the song’s lyrics aren’t a tribute in any way. Instead, they sound like a mocking portrayal of punk rock hero worship, something that the members of the band have undoubtedly witnessed countless times in their hometown and on the road, with great derision. Similarly critical of trends in underground music is “Chick Singer,” with its chorus of “She’s good for a girl,” poking fun at the boy’s club phenomena of punk and hardcore, in which women aren’t appreciated as real musicians. The track is kept buoyant and fun by Jiwani smartly not delving into any sort of self-serious feminism.
In addition to some of Greys’ best, most clever lyrics to date, If Anything features some of Greys’ most well-balanced, most intuitively enjoyable music ever. From the opening charge of “Guy Picciotto,” to the mid-paced noise rock stomp of “Use Your Delusion” and “Flip Yr Lid” (a reference to both Hüsker Dü’s album Flip Your Wig and Sonic Youth’s typography), to the frenzied punk of “Adderall,” the album is incredibly well-paced and varied. Late-album highlights “Cold Soak” and “Lull” place emphasis on droning guitar and a reverb-laden, obscured vocal delivery, providing the album with a smooth exit, without seeming out of place, as the melodies aren’t overly pretty, and stick to the discordant tone present on the rest of the album.
Finishing out at just under 35 minutes, the album is short, but not does seem it. Packed into If Anything is enough sonic diversity and ferocity, as well as multifarious lyrical ear worms, to provide the listener with incentive for repeated listens. With this album, Greys have both built upon previous releases and paved new territory for themselves, deliberately referencing the past, while singing about problems plaguing the present, both personal and more widespread. If Anything is both Greys’ most impressive release in their short discography, and one of the best albums to come out this year.
Catch Greys on tour with The Dirty Nil in Baltimore on August 15, and in D.C. on August 16. (Or maybe in Silver Spring on the 15th? Keep an eye on Greys’ facebook page for details…)
