by Kris Handel
Circles is the fifth full length from Brendan Kuntz’s project Grass Jaw, diverting a little from the angst filled darker tones of the previous records that were filled with tight post-punk-ish nuggets of doubt and reflections on parenthood. He adds flourishes with contributions of horns from Egor Remmor and Kevin Scott to his compositional arsenal here and the arrangements are tighter and show a great amount of learning and progress over time. Kuntz has repeatedly shown himself as an accomplished multi-instrumentalist and that continues here with some massive drum fills and cycling guitar progressions laying the ground for ruminations on the passage of time and finding new ways to break out of routine. His slightly nasal vocals express the tiredness and yearning for something else on this collection of songs quite majestically, providing another level of character to songs that are already quite engrossing.
The title track highlights the repetition of time and routine in a dour folky tone intensified by Kuntz’s guitar pattern and shuffling rhythm that draws itself out monumentally. He melds slowcore ethos with a Sebadoh like melody and the added tonal color of contrasting bass and higher middle range to his multi-tracked vocals. “Start Over” considers decisions made from lack of experience and reflects the effects of what theoretically would happen upon given another chance at any number of situations. Remmor’s trumpet adds to the melancholy and reflection as it spits out tense bleats. Although there is a bit of resignation in the lyrics, Kuntz never wallows and there is triumph lying underneath, involving a message of learning through your mistakes and being willing to grow from those that might be regrettable.
“Elmira” is longing for the familiarity of a former home and is driven by Kuntz’s charging drum performance, slightly crooked multi-tracked vocals, and sawing guitar work that brings forth a crafty mash-up of psychedelia and post-punk edginess. He plays with melodic dynamism and switches up folksiness with furious guitar squalls at the right moments, looking back at what once was familiar as well as changes to the physical environment and the accuracy of memories. On “Settled In,” Kuntz struggles with the mundanity of routine and wanting to do so much more with the limited time available given to all of us as people and uses open-ended questioning to subvert the meaning of such. The sparseness in the lyrics here are mesmerizing and repetition is once again used very appropriately to accentuate the tension and exposed nerves expressed within.
Patterns, as well as the inherent opposition of movement and stagnation, are motifs throughout this recording, setting itself on edge right from the start. Kuntz’s flexibility as a musician and songwriter is extremely valuable and on display throughout and the willingness to never stay put musically creates so many opportunities for exploration. Being able to enjoy your experiences no matter how uncomfortable seems key to everything here. Kuntz hammers home that as disheartening and confusing as the passing of time can be, it also needs to be cherished as no one truly knows when it individually may end. This record swirls in all sorts of directions, and although there is a folky base, there are moments of sheer power as well as plenty of pensively quiet introspection/reflection that makes for an intense listen, with so much of its heart to give.
All proceeds go to The National Network of Abortion Funds, for good measure.