“Bring me the big knife so I can cut
my neck again.”
The line opens “Eternal”, the
dramatic lead track on Wages’ Shady Chamber. As the
chorus repeats, “The pain is eternal”, things don’t look any
sunnier.
This oft-melancholic EP focuses on the
enviable falsetto of Nick Campbell. Backed with lush reverb, his
lyrics and arrangements make Shady Chamber a solid release
from the L.A. duo. Campbell draws inspiration from Elliott Smith's
“spider-web thin vocals”, thankfully without coming off as
another Smith-obsessed songwriter à la Blake Sennett or Jose
Gonzalez. Among the forbearers of grandiose post-rock also heard in
Campbell's voice and songwriting, Jónsi
Birgisson of Sigur Rós easily
comes to mind.
Wages is described on their website as
“music for escapists”. The other half of the duo is drummer
James DeDakis, known for his work with Amy Ray, Arizona, Fan Modine,
and Lovett. In Wages, DeDakis contributes keys and guitar in
addition to his effective and efficient drumming.
Shady Chamber has a modern and
vast quality to its production. Full of complex layers, the
aforementioned reverb, and intricate guitar textures, the majority of
the record was recorded at Seriously Adequate Studios, a small and
trendy studio in Carrboro, NC. Alex Maiolo is the man behind the
board at Seriously Adequate. In addition to Wages he’s also
recorded Brian Paulson, Polvo, and The Love Language. Recently,
Maiolo received praise for his work with Chapel Hill orchestral-folk
darlings Lost in the Trees. Shady Chamber shares a kinship
with this band’s massive and cinematic sound.
The EP was completed at Asheville's
renowned Echo Mountain Studios, so its hi-fi nature should come as no
surprise. One song recorded entirely at Echo Mountain is “South
China Sea”, a hypnotic standout track every bit as exotic as its
title suggests. Campbell is listed in the liner notes as playing the
guzheng, a Chinese instrument played by plucking its twenty-plus
strings and moving its multiple bridges. The instrument is featured
prominently here. Campbell also uses the song as an opportunity to
stray from his falsetto norm, showcasing his dynamic range and
ability.
Tracks such as “Pull Through”, and
the more uplifting “Unity”, bring to mind the mid-2000s release
Fields from Swedish indie-folk group Junip. While Junip's
epic and sweeping compositions occasionally felt forced in their
attempts at Americana, Wages’ rustic undertones feel authentic.
Owing to geography or not, Shady Chamber showcases Wages
ability to beautifully construct songs and performances in a genuine
and truly American fashion.
-Eric White
Wages
Shady Chamber
(self-released)