Tag Archives: The Joy Formidable

East of Hercules – Ume

Guitarist and singer Lauren Larson from Austin, Texas, power trio* Ume is one of my favourite contemporary rock guitarists. Creative rather than virtuosic, her style brings together wiry single-note riffs and octave chords and dyads in the middle of the fretboard, occasionally using delay to add rhythmic interest without, Edge-style, making it the entire basis of her sound. You might think that a three-piece eschewing heavily distorted power chords in the lowest register of the guitar would sound a little skeletal, but Larson fills up a lot of space all by herself and when playing with the brakes off, the band sound massive.

East of Hercules, the thunderous opening track of the band’s debut 2009 EP Sunshower, has one of the most immediate of Larson’s serrated-edge Fender riffs, underpinned by her husband Eric Larson’s light-footed distorted bass. Original drummer Jeff Barrera is brick-wall solid in support, using toms to build tension in the verses and smashing his cymbals to send the song through the roof at the climax. The song’s structure, a variation on the well-worn quiet-loud-quiet-loud dynamic of nineties-influenced rock, may not be the most surprising, but it works brilliantly, with the band alternately surging forward and pulling back. Vocals tend to be sunk low in the mix on Ume’s early work, certainly on the heavier tracks, but, MBV-style, snippets of melody and lyric insinuate themselves over time, so East of Hercules rewards repeat listening, as do the other songs on Sunshower.

I felt on hearing Ume’s early work that they were going to get a substantial audience. It’s never really happened for them. It may seem reductive to suggest that only one band can pursue a similar sound at the same time and have success with it, but it does feel like The Joy Formidable (who released their debut EP in the same year that Ume put theirs out), who share a power-trio sound with Ume and whose singer Ritzy Bryan has a similar vocal tone and range to Larson, now occupy the only space that mainstream indie rock has for a band doing this kind of stuff. Which I guess makes sense since The Joy Formidable’s mixes tend to place more emphasis on Bryan’s voice than Ume’s put on Larson’s, and tracks like Whirring and Abacus show a willingness and a talent for playing to the back row of an arena that Ume don’t quite share, but it’s still a shame. I know which band I’d rather see in a small club.

Ume have become a little more refined over the last decade, with 2018’s Other Nature employing a tight, dry sound, a little like Radiohead around the time of In Rainbows, and featuring fewer head-banging moments. All their releases are worth checking out, though. Sunshower’s standout East of Hercules is a great place to start, and while you’re there check out The Conductor and Pendulum, too.

*They have expanded more recently into a live four-piece, with either an extra guitar or keyboard player. As far as I can tell, though, the core of the band remains Lauren Larson, Eric Larson and current drummer Aaron Perez.

Andy Wallace, mix engineer

I’ve mentioned before here that Nirvana were the band that inspired me to start playing guitar and making music. Without hearing them when I did, I’ve no idea where I might have channelled my energies. As it was, I did put them into music, and having never been one to do things by half measures, I became a Nirvana obsessive. One of the marks of the young obsessive then (and it may still be, for all I know) was to profess a love for In Utero over Nevermind. The reasons for this are fairly simple: Nevermind was a huge hit record, and therefore middlebrow, and Cobain himself had said derogatory things about it in public (how it was closer to Motley Crue than punk rock, etc.), as had Steve Albini (who recorded In Utero).

The man responsible for the final sound of Nevermind was Andy Wallace. Not coincidentally, Wallace is one of the most in-demand, highly remunerated mix engineers of the last 25 years or so. The records he worked on defined the sound of rock music (certainly at a major label level) from the very start of the 1990s for about ten years, when gradually the Lord-Alge brothers’ (Chris and Tom; they work singly, not as a team) sound took over until it was everywhere, on vocal records from pop to country and gospel, to major-label rock. By the time of American Idiot, it was all over: what the Lord-Alge brothers did was now standard methodology.

For the tech-minded and interested in home recording, I’ve been doing some podcasts of late on the subject of recording drums in the home studio. The CLA/TLA approach to compression is discussed briefly in the podcast on snare drum recording. They use a combination of heavy/fast compression and sample triggering to create a very controlled, compressed snare drum sound, which I surmise from interviews with them they think of as aggressive-sounding. To me, it’s the opposite. By reducing the transient/attack element of the snare drum stroke so heavily, they’re reducing the excitement of the music. The benefit to them is that there’s more room for everything else, and it’s easier to turn in a very controlled, loud mix with all the critical instruments presented with persistent audibility.

As I became alive to this stuff, and realised why I disliked the sound of modern records so strongly, two paradoxical things happened. Firstly, I began to properly understand the nature of Steve Albini’s complaints about Andy Wallace’s mixes (most people who talk smack about Wallace would be unable to identify compressor or limiter if it were placed on a table in front of them, let alone actually work the thing). Secondly, I began to respect the hell out of Andy Wallace’s work, which to my ears gracefully walked a fine line between the controlled and focused sound that labels tend to look for, but still retained an awful lot of the sense memory I have of what it sounds – and, crucially, feels – like to sit a couple of feet away from a snare drum and cymbals while giving them what for.

This is really hard to do.

It’s why Wallace’s work sounds like his work. Sure, there’s been an evolution over 25 years or so, but there are certain things he still does that are Wallacian hallmarks: he still uses the acoustic drums to trigger samples of ambience, he still rides the room mics up (and the overheads too) for a bigger, roomier sound in the choruses (both of which are done in the context of mixes that are still on the dry side) and he still leads the listener by the nose to whatever it is they should be listening to, while never making it apparent to them that that’s what’s going on. And sure, if you’re Steve Albini and it’s your drum recording he’s using to trigger samples and your stereo field that he’s narrowing (as he did on Helmet’s Albini-recorded In the Meantime) that might be annoying and seem disrespectful, but Wallace (or any mixer) has to serve three masters: the record company paying the tab up front, the band who created the music and the listener who’ll ultimately be enjoying it. It’s a difficult place to be and hard to keep all three parties happy all the time, but Wallace has managed it more often than not for a very long time now.

Unfortunately times change and even Wallace’s work misses the mark sometimes now. The Joy Formidable’s 2011 release Wolf’s Law, for example, is one of the most horrendously squashed and flat-sounding records I’ve ever heard, and it’s hard to know whom to hold responsible: the band, listed as the producer; Wallace, who mixed it; or Bob Ludwig, who mastered it. Both Ludwig and Wallace have done stellar work over the years, so maybe they were painted into a corner by their tracking engineers. Who can say? But I can say this: if you listen to a Wallace mix from the 1990s, whether it’s Nevermind, Rage Against the Machine, Grace or The Globe Sessions, you’ll hear a guy giving a repeated masterclass. It’s interesting, too, if you can stand it, to listen to his work on heavier records in the early 2000s (Linkin Park, Limp Bizkit, Sevendust, Slipknot, System of a Down, Disturbed, etc.); you’ll hear that it’s definitely the start of a different era, but a lot of the old Wallace techniques are still audible, and whatever the artistic merit of those groups, Wallace’s mixes were still efficient and ruthlessly focused.