![News Added Sep 21, 2015 The strings rattle. The guitars crackle and blister. The notes ring out, at turns bleak and beautiful—sometimes both at once. Grievances, the third album from Kowloon Walled City and its first for Neurot Recordings, finds the San Francisco band at its artistic peak, having moved even further away from its […]](https://hasitleaked.com/wp-content/uploads/2015/09/530108-320x320.jpg "Kowloon Walled City : Grievances")
The strings rattle. The guitars crackle and blister. The notes ring out, at turns bleak and beautiful—sometimes both at once.
Grievances, the third album from Kowloon Walled City and its first for Neurot Recordings, finds the San Francisco band at its artistic peak, having moved even further away from its sludgy, post-hardcore origins and toward a sparser, sadder, yet still de-tuned heaviness. This shift began with 2012’s critically successful Container Ships, which Lambgoat described as “spacious” and “mildly hypnotic,” with a “Shellac-like use of dead time and instrumentation,” and The Obelisk called “cerebral in approach.” On Grievances, the band takes these elements to even greater extremes.
“We dug into this expansive, less distorted vibe. The songs are mostly slow and bummed out but we still want them to push, to have energy,” said vocalist and guitarist Scott Evans.
Evans, guitarist Jon Howell, bassist Ian Miller, and drummer Jeff Fagundes spent over two years working on the seven songs for Grievances. The intense editing process weeded out about two albums’ worth of songs. “Honestly, it wasn’t fun,” says Evans, “it was grueling. But I’m not really here to have fun.”
Howell’s unusual chord changes and discordant aesthetic channel Unwound and Slint. Miller’s gritty bass adds a suprising layer of depth and melody, while Fagundes’ drums resonate in what sounds like an impossibly large room. Evans’ shouted vocals are raw with frustration and disappointment, but without the typical veneer of macho aggression.
“We’re not interested in doing something that’s good enough — we want to do something that we believe is good,” said Miller. “With Scott’s concept and sonics and Jon’s playing and our rhythm section, we feel like should be able to do something interesting. But it’s hard work.”
The concept of work forms the thematic foundation of the entire record, from the cover art to the title and the lyrics. Whereas previous Kowloon Walled City releases were largely inspired by the band’s hometown of San Francisco, Grievances focuses its attention on our complex relationships with work and the power our employment—and employers—have over us.
As with Kowloon Walled City’s previous releases, Evans recorded and mixed, starting in Sharkbite Studios and finishing in his own Antisleep Audio, both in Oakland. “We’re not a fancy band. There are no effects to speak of, no reverb, no delays,” said Evans. “We each play one guitar, one pedal, one amp. So there’s not much to hide behind. I try to respect that in our recording process and our recordings.”
Kowloon Walled City formed in 2007 and has released an EP, Turk Street (Wordclock, 2008), and two full-length albums, Gambling on the Richter Scale (Perpetual Motion Machine, 2009) and Container Ships (Brutal Panda, 2012), as well as two splits. Among the bands it has shared stages with are Neurosis, Tragedy, Sleep, Thou, Coliseum, Zozobra, Fight Amp, Roomrunner, The Body, and Helms Alee.
