When S Prcss released its sophomore album MNML last year, both Mundane Sounds and Pitchfork recognized it for the near-masterpiece of arty, danceable punk that it was. While to newcomers, the album seemed to be at best, a product of its time and at worst, an attempt to hop on a bandwagon, those who heard the band’s 2001 debut More Me knew that S Prcss was actually a couple years ahead of its time. MNML was released by Les Savy Fav’s Frenchkiss label, but don’t get it twisted: S Prcss are contemporaries, not protégés. Unfortunately, while LSF’s recent singles compilation Inches shows a band slowly refining and improving their sound, Tastes Like Daughter shows S Prcss in a period of awkward transition, and their music simultaneously suffers and benefits from it.
Only the EP’s last two songs can hold their heads up high next to the best songs from MNML. “I Call I Gorilla (Mountain Lifter)” and “Give the Beaches to the People” boast all of the band’s most delectable trademarks: clean, simple guitar playing, tuneful bass lines, and Daneil Mazone’s hard, steady drumming. Atop all of this, guitarist Bob Doto sings typographically challenged lyrics that read like E.E. Cummings gone emo but have the soothing, circular nature of Vedic chants when sung. If the other four songs on the EP were up to this standard, Tastes Like Daughter would be an unsurprising yet fulfilling sequel to S Prcss’ previous album. On the other hand, everything that’s right and wrong about the rest of the record can be explained by the following sentence, which is taken from the band’s
bio:
“Songs are stripped bare because lofty production, pounds of guitar tracks and attention to detail just don't make sense when last week Bob and Daneil weren't sure if they were ever going to speak to one another again.”
From what I’ve read about S Prcss in the press, not only does Daneil play drums, but she also the band’s editor, purging all of the unnecessary ideas from Bob’s songs until they assume a concise, finished form. If this is true, then it explains why three of Tastes Like Daughter’s first four songs don’t have any drums, as well as why all four run on MUCH longer than they need to. Granted, the first two songs make nice use of choppy bass lines and delayed guitars, sounding a bit like Steve Reich gone rock. Also, they boast greater employment of coed vocal harmonies from Bob and Daneil, which is another nice touch because Daneil’s singing has greatly improved since MNML. However, the first two songs approach the six-minute mark, which is too long to sustain my interest without Daneil’s drumming girding them. The songs don’t sound “stripped bare” as much as they sound just plain unfinished.
I will admit that I get a kick out of “I’m a Motorcycle Drummer in a
Moped Band,” in which Daneil seems to be unleashing her anger directly on Bob. “That’s what you get,” she sings, “’cause you can’t fix chicks who live to hit hot sh*t with sticks for kicks,” and that’s one of the LESS vituperative lyrics. Although the song doesn’t have any drums, it doesn’t go on for an eternity and her lyrics are enough to carry the song until it ends. On this song, the drama between Bob and Daneil serves as the song’s engine, whereas on the rest of the EP it keeps the songs from achieving their full potential. It’s one thing to write songs about your problems as a means of catharsis, which is what S Prcss do on “Motorcycle Drummer.” It’s another thing to leave your songs unfinished simply because you can’t be bothered to speak to each other. If that’s the case, then why release them in the first place?
Even though overall I am disappointed with Tastes Like Daughter, I still have faith that if Bob and Daneil can find a way to let their personal tension fuel the music instead of hinder it, their third proper full-length will be a treat. More drums! More harmonies! Moreanger! Shorter songs! I’m counting on you two!
--Sean Padilla
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