Generationals
Heza
Reviewed by Michele Zipkin
Generationals’ eclectic taste in music can definitely be heard on their latest record Heza, their debut release on Polyvinyl Records, recorded in their native New Orleans. Snippets of indie Brit-pop, dance rock, and ‘60s and ‘70s rock and roll pervade this stylistically varied album. Generationals was formed by Ted Joyner and Grant Widmer after having put a close to their initial band The Eames Era.
The ten tracks that compose the record are a pleasure to listen to and provide diversity in mood, use of instruments and genre. Some tracks call to mind Vampire Weekend, others are reminiscent of the Beatles. The upbeat and guitar-forward “Spinoza” initially engulfs the ear, and its high-energy does a good job of introducing the album with some spunk.
The introductory riff in “Say When” almost sounds like one you might hear in a song by Swedish Duo The Knife, randomly. However, the vocals and percussion pull the song back to the Brit-pop arena; The repeating “Say When” vocal line sounds a lot like Robert Smith of the Cure. More versatility comes with “You Got Me”, which has a clean-cut reggae vibe in the chorus, both melodically and lyrically- “Every single night, you got me achin’ all the time.” – a very Marley-sounding line- over straight staccato in the synth keys, and electronic percussion holding the rhythmic reins.
Heza deviates a bit at least from the duet’s debut Con Law, which seemed a bit more cohesive in terms of style and instrumentation (but still pulls from the music of multiple decades.) The new record sounds a little closer to the vein of their EP Trust, in which Joyner and Widmer seemed to have used more synthesized instruments and experimented more with sounds. In terms of Heza, unique use of electronic instruments come into play with “Extra Free Year” and “Put a Light On”. Chime-y and melodic percussion is provided by the keyboard in the latter, and the layered vocals playfully jump from low to high range.
“I Never Know” sports a retro ‘60s rock feel, evoking some of the bluesy songs of the Beatles like “Come Together”. It is one of the best tracks of the album partly because it sports that dirty electric guitar and that sweet, simple little melody. It seems more instrumentally au naturale, but we still hear the scraggle and clang of synths in the background. It would be nice to hear a few more non-synthesized instruments on this record.
The record ends up on an instrumentally straightforward note with “Durga II”, with a friendly guitar riff providing a pathway for Joyner and Widmer’s soft and soothing voices. The song proves a nice contrast to some of the previously sprightly and dance-invoking tunes that litter this fun-to-listen-to album.
