Rob’s Album of The Week: The Messthetics and James Brandon Lewis
Ever since The Messthetics started via former Fugazi members Joe Lally and Brendan Canty teaming up with Anthony Pirog back in the mid-2010s, the band has consistently pushed the creative envelope in numerous directions. With Lally and Canty forging rock solid rhythms on bass and drums while Pirog brings the amplification on guitar, this trio exudes an experimental approach that incorporates elements of jazz, progressive rock and punk. Each song they create is a voyage on its own along with being open to inclusion with other musicians. The latter quality is the genesis behind the album they did with saxophonist James Brandon Lewis that came out on March 15 via Impulse! Records. From listening, the record has Lewis seamlessly joining up with Lally, Canty and Pirog with no interruptions and no setbacks.
While the flow of the album has each song sharing similarities, some of the structure and arrangements are different. At some instances, the pace picks up with an electrified edge being established while at other times it’s mellow and pensive. This variety of tones makes for a stellar listening experience with nothing coming off as dull and boring. Overall, it’s a great jazz record that stands up against anything else that has come out within the stylistic realm over the past decade. It’s also refreshing that it’s not a cookie cutter byproduct of the artform as the instruments search for new limits with each note.
It should be mentioned that this is the first release from The Messthetics in nearly five years. In certain instances, this length of time can cause some rust for a band, but for this case it’s the complete opposite. I think Lewis’ energy on the saxophone has a lot to do with this fact, especially since he has a constant presence within the album from start to finish. For an in-depth look at this and more, there’s only one thing left to do. Here are my top tracks off of the Album of The Week:
“That Thang” is a funky number that has a really cool groove and an excellent vibe. The sax and drums combine for fantastic syncopation while jointly serving as the foundation. Lally’s bass has more of a presence while leading off “The Time is The Place” as the sax once again solidifies the music. Closing out the album is “Fourth Wall”, which has a steady build up towards a full-fledged sonic arsenal that arrives close to the halfway mark. Pirog’s guitar playing is excellent with a massive solo of his changing the entire dynamic of the song.
Both Lewis and The Messthetics are going to be touring in support of their new album starting at the Treefort Music Fest in Boise on March 21. Other notable dates include March 29 at the Black Cat in Washington, D.C., May 6 at Club Cafe in Pittsburgh, May 17 at Nova Arts in Keene, New Hampshire as part of The Thing in The Spring and May 19 at the Bowery Ballroom in New York City. I had the pleasure of seeing The Messthetics a few years ago at Machines with Magnets in Pawtucket and I can only imagine how even better they are now with Lewis being brought into the fold. Before they come to your friendly neighborhood music venue, grab a copy of the new album and give it a listen. If you’re a fan of jazz and experimental tunes, then this is an ideal record to check out.
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