by Kris Handel
Improved Means to Deteriorated Ends is the third full length from Brooklyn/Philadelphia’s Washer, the duo of Mike Quiqley and Kieran McShane, an album that continues to grow their increasingly impressive catalog of anxiety fueled garage punk. Quiqley's songwriting tends toward introspection and pathos that are alternately shouted and sullenly expressed with a strange combination of unease and passion that works astonishingly well. The songs are filled with acerbic observations about the perpetual mundanity of life, a healthy dose of self-deprecation, and awareness. Quiqley's guitars are economical and weaving amongst McShane’s mostly furious pounding and muscular drums fills, creating a world of sound that bounces from late 70's punk to a mix of the more chaotic moments of Sebadoh and the angular grooves of a band like Pile.
"King Insignificant" announces the record with languid guitar and Quiqley's quaking and nasalish vocals elucidating moments of social awkwardness and inebriated revelry. His shouts are echoed by crunching bass drum and cymbal crashes as guitar chords slide around before a galloping and almost celebratory crescendo towards the finish. "Death of an Empire" questions the path of self-absorption and lack of empathy swirling around various aspects of life and society as drums gallop and Quiqley is helped out on vocals by Becca Ryskalczyk of Bethlehem Steel. Quiqley’s vocals swoop and bend, striking a wonderful balance on this jaunty little bit of jangly pop that has an enticing spirit and spite wrapped all around it.
"Threadbare" comes off as a mix of Rites of Spring and the more chaotic early-mid Sebadoh tracks as the drums tumble through the stops, starts, and intricate guitar work. Quiqley moans through a tale of disillusion amidst a tenuous grip on his will, searching for an impetus to move forward in various manners. "Three Jeers" starts off rather comedically with as he drawlingly groans "I'm up to my ears in beer/and we all cheer/for the dumbest shit/what's left when you reach the bar/so low it leaves a scar/as you trip over it..." in this exploration of general absurdity of everything around us in life. Quiqley's introspection is done marvelously as questions of what should be considered satisfaction and differing levels of expectations and appreciation are summed up nicely as he intones "I'm sorry but I just couldn't take myself so seriously at all."
This record shows Washer continuing to build on each previous album’s momentum, finding new ways to charm and endear themselves to the listener. Quiqley and McShane's music has an infectious energy and charge to it, and though this record tackles some heavy questions in regards to creating art and if it actually matters, the exploration is engrossing. The album is full of quotable moments, nervous humor, and melodies that will burrow themselves into your ear canals. Their ability to truly engage with each other carries the day and magnifies the ability to work through anger and find a way to see beyond darker moments of apprehension and doubt. With Improved Means to Deteriorated Ends, Washer has unleashed a record that exposes so many treasures and gifts with repeated listens, never failing to reward its audience.