Album Review: Tigercub – ‘As Blue As Indigo’

Jamie Hall has always seemed eager to don a number of hats. Ranging from the mythos psych of Nancy to the bone-rattling heaviness of Tigercub, such an adept grip of eclecticism could produce an ego, but none of these hats have made Hall’s head appear too big.

He’s still the same tinkerer, shaping his sound in the bedroom, feeling if he doesn’t have something to prove, he has very little. On As Blue As Indigo, all is honed, and the shockwaves continue as the pure electricity of 2016’s Abstract Figures in the Dark is retained.

It’s pure distortion, never abrasive, but Tigercub’s latest refuses to shift into an old timer-friendly domain. It’s a sound Hall may steady his way to, see the quiet-to-loud chassis of Stop Beating on My Heart (Like a Bass Drum), particularly its hammer-swinging gut, and heaviness appears in breaths on Sleepwalker; stormy clouds of romanticised distortion that unleash with each swing of a guitar pick.

The sonic energy intertwines with each heartfelt theme. The demented spiralling of mental illness finds a home within maddening hard rock on Blue Mist in My Head, while Funeral – topically collected from the death of Hall’s grandmother – makes use of absences of noise, quite beautifully with violin interpolations and whistling.

Even when ignoring the heartbreaking realism, one may detect a familiar spark in Hall’s voice. The Josh Homme/Queens of the Stone Age comparisons write themselves, but if you could sound like that, why wouldn’t you go for it? That muscly, sexy haze drifts its way through tracks such as Build to Fail, and the swampy sleaze of Shame, while Beauty sexes itself up a little differently to evoke the dance punk riffage of Death From Above 1979.

Such an act is driven with a pop appeal that somehow lives in harmony with harshness on As Long As You’re Next to Me, then with a grunge aura on In the Autumn of My Years, impressively capturing the spirit of Foo Fighters amidst vocal lines paranoid, attempting to restrain from panic.

It may all persuade the listener to believe there is, in fact, some genius within the hard rock manifesto of Tigercub. Hell, even the non-song intro title-track manages to manoeuvre itself from a creepy crawly, lurking premise to something a little more pleasant; Jamie Hall knows how to play with your ears, he knows.

And that knowledge has led to a sublime second album. As Blue As Indigo tests the durability of its surroundings without demoralising, all stemming from a hunky production style that rocks with energy, richness and intellect.

So that’s another hat equipped by Jamie Hall, one certain to raise the hair of all those within close proximity.

As Blues As Indigo is available now digitally and on limited edition vinyl from the band’s official store*. One June 23rd, the band will play a livestream record release party. Tigercub will also embark on a UK headline tour later this year. Tickets are available here*.

June 21, 2021
Ben Malkin

Album Review: TONG anatomize the patriarchy on ‘MAN’

 

by Ben Einstein

 

The Greek word apocalypse typically conjures up thoughts of a violent destruction or a catastrophic end. Yet, the word itself translates literally to an uncovering, a reveal, a parting of the veil.

It is in this context that San Francisco three-piece band TONG ponder the apocalypse on their new album MAN, out now.

MAN is a particularly heavy song cycle by most standards. It sounds at home among the likes of King Gizzard & The Lizard Wizard and Ty Segall‘s discography. Corporeal imagery is sung in unison with heavy riffs; Parker Simon’s gnarled basslines are paired with Alex Dang-Lozano’s distorted drums. Tom Relling’s slide guitar offers a surprising texture — melodies shift from ethereal textures to Sabbath-inspired fuzz at the drop of a hat. The musicianship is superb and the band is tight, no doubt about it.

Tong album art, a curious and corporeal shape.

Tong album art by Gabriel Nikias

The question “What makes a man?” became album’s north star. In one sense, the question is literal — LUNG, EYE, MIND — each song title is named after a different part of the body. But as you could imagine, that question is really rooted in metaphor. “TONG set out to artistically explore this concept within the context of a dying American patriarchy, drawing influence from disturbing scenes of toxic hyper-masculinity, white supremacy, police violence, a Trump presidency, and an array of other shocking events that defined 2020,” says Relling.

Looking back, it’s easy to use our working definition of the word apocalypse as an analogy for the last sixteen months. The Bay Area music scene, as a representative sample, paints a disheartening picture. In that time, we lost several of our favorite venues — Slim’s, The Uptown, and Revolution Cafe to name just a few. TONG’s last pre-pandemic performance was also the final show at Amnesia, the beloved Valencia Street venue that shuttered at the end of February 2020 — just before COVID-19 sent the nation into quarantine.

And yet, even surrounded by the evaporation of these cherished musical spaces — if we imagine the apocalypse not as the destruction of the world itself but as an uncovering of systematic problems, what can we do about it? How can we change it for the better?

As we see our world beginning to reopen, we are faced with the task of making our world a better and more inclusive place for others.

It is easy to idealize the former status quo, to try and pick up exactly where we left off and aim to maintain its same trajectory. But it is much more important to acknowledge that our world was (and still is), in so many ways, broken. Broken by patriarchy, racism, white supremacy, homophobia, ableism, sexism, and transphobia. Broken by inflexible economics — unreasonable and eternally rising rent prices, which had already squeezed the Bay Area’s residents and business owners too tightly.

The first step to correcting course, according to TONG, has roots in another greek word: catharsis. Relling describes MAN as “a sonic patricide to atone for the past, clearing the way for a new way of thinking.” In context, these anatomical song titles take on a new meaning; piece by piece MAN is quite literally a construction that is meant to be incinerated, a burnt offering. Out with the old, in with the new.

MAN is available now on Bandcamp and everywhere else you listen to music.

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