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The Waxwings:
Let's Make Our Descent
After being introduced to the Waxwings by the Detroit bands 2002 sophomore release, Shadows of the Waxwings, I was convinced that this band was a diamond in the rough the rough being 2002s retro-garage-rock wasteland. The missing ingredient in so many of the neo-garage-rockers was hook, and the Waxwings unmistakably had it. They brought the pop back to the garage, and they even infused their own lo-fi psychedelic fuzz into the formula. Unlike their more famous Detroit neo-garage contemporaries, they werent putting on any pretenses or trying to be something they were not. It was clear that the Waxwings were unabashedly more influenced by the Beach Boys and the Byrds than they were by the Kinks or the Stooges, and that was more than okay; because it resulted in an honest album full of harmonizing vocals, classic guitar hooks, and beautifully fuzzy garage pop. Arrive 2004. The Waxwings have been booted from their label Bobsled Records after an embarrassingly public dispute with label owner Bob Salerno, in which he berated the band for, among other things, not sounding enough like the White Stripes. Way to go Bob! You had a band on your label that was actually doing something a little different than all the other garage rock clones, but you wanted them to sound like the White Stripes. Well Bob, unfortunately you got your wish sort of. The Waxwings new release, Lets Make Our Descent doesnt exactly sound like the White Stripes, but there is definitely more of the rock and less of the pop than on their previous releases. And the Waxwings are undeniably better at the pop. The album certainly is not a complete wash, and it is unsurprising that its shining moments are when the band takes advantage of their knack for vocal harmonies and allow the vocals to be up front in the mix rather than pushed under the noisy guitars. And about those noisy guitars their presence isnt the problem, but wheres the jangle? The jangly guitars were a strength on Shadows of the Waxwings, and they are almost entirely absent on this release. In most songs, theyve been replaced by bluesy riffs. And it just doesnt work as well for them. It pains me to say it, but the end result of these changes is an album that lacks truly memorable songs. I think the Waxwings deserve a Get out of Jail Free card for this release. Theyve had a rough time of it, and I know they still have a great deal of talent. The key is sticking to what they do best lush harmonies, jangling guitars, unforgettable hooks, and fuzzy lo-fi production things unfortunately not found on Lets Make Our Descent.
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