They perform great C sections
The Slackwater News perform great C Sections. At the first stage of each song, the band surgically introduce their catchy and playful melodies effortlessly, painlessly as the musical substrate quickly dilates, breath-by-breath, expanding and contracting to allow more of their clever instrumentation into and out of the fold. No analgesics necessary—I swear. This new delivery method surreptitiously and succinctly induces their full ensemble with delight. They give you a catchy melody, then they sneak in another instrument, now that instrument plays the next melodic hook, and then they sneak in a gorgeous harmony with yet a different instrument—always keeping you enchanted by their continuous flow of novelty-nuanced music. Through this kaleidoscopically arranged music you are so much engaged—if not already married to the music—that you might have missed that you’re actually listening to the chorus. Much like in stitching, a mark of great musicianship is the ability to hide seams and the Slackwater News do so with a high dose of originality and plain awesomeness. For your neighbor’s band, you’re held there by shotgun as you impatiently tap your foot through the laborious delivery process of oftentimes wave of painful verse after wave of painful verse to get to what you hope is a good-looking chorus. Do you even care what they named it? It’s not like she took your input on the matter seriously. And all the while you’re sort of skeeved out by the circling of buzzards that is the mothers and mothers in law all in the same room together taking credit for which traits of the song came from which of their children. Not so with the Slackwater News. The Slackwater News explores through their new musical territory by always giving the listener a catchy melody to act as a fun and witty guide. Their collective advanced musical understanding for orchestration and texture are akin to ‘67/’68 Beatles and Beach Boys. And the ever-tasteful, balanced guitar work provides succinct yet delightful countermelodies in a way that deliciously reminds me of Jonny Greenwood circa ’97. Expertly arranged, before you know it waves of the A and B (Verse and Chorus)sections have passed—all ten fingers and toes—replete with fun melodic pulls & pushes, quirky ins & outs. Just as you are cognizant that they’ve completed those rounds and are curious how they’ll end with the same fascination that they embarked what you thought up until that point was the main resolve of the song, you’re dilated and in position for the third stage, the C Section, the place where The Slackwater News particularly glisten and where the miracle of music happens. Get the camera out. The Slackwater News rocks C Sections. They slice through their C sections with coolness and confidence wielding clever and pertinent and tantalizing melodic explorations in ways more akin to the sharp and daring sonatas of Beethoven than the sometimes blunt and bloody Wagner C sections. Painless. No Crying. No tears. No coat hangers necessary. Really, you’ll love it. Little Baby Jesus didn’t cry either.