Weaves Weaves Memphis Industries
Toronto noise-pop quartet Weaves emphasise the present moment. Their songs are constructed from vocal melodies sent via iPhone by singer Jasmyn Burke to band mate Morgan Waters to work on, and then, as soon as possible, the band meet to add their own touches in the studio. This direct approach seems to have influenced the energy of Weaves, their confident, bombastic debut LP that was, of course, recorded live from the floor.
There’s an authentic riotousness here: by combining pop hooks, attention-grabbing riffs, and pleasing injections of skronky noise that max out all the dials, Weaves are succeeding in creating their own distinctive sound with the guitar/bass/drums format, and in turn channeling an energy could be compared to The Hives fronted by tUnE-yArDs’ Merrill Garbus.
If that sounds fun, it is: sunny, urgent opening kicker Tick devours pop chords and prescriptive guitar parts and spits out something infectious and free from pretension instead, and guitarist Waters plays in such an joyously obnoxious way (listen to the opening riff of Candy for proof) that it’s almost offensive. However, his sometimes whiny, sometimes crunchy tone balances Burke’s smooth alto vocals, and reflects the duo’s sparkling natural chemistry, often the only thing controlling the chaos. Occasionally, Weaves rip the piss out of guitar band tropes so much that it comes across as laziness – Two Oceans, for example, is boasted to have improvised lyrics, but the narrative is so simplistic that it’s ruined by flippancy. But Weaves are a reminder that, not only can bands be great fun, but they can still innovate.