by John Brouk
During the early months of 2024, a number of songs began bubbling up from the Texas-based band, Variety. And now the no wave avant-pop rockers have unleashed the full power torrent that is Subtropical. It’s an energetic and idiosyncratic album that sees Variety tapping into something special, like a Beefheartian post-punk that is occasionally reminiscent of Clash the Truth-era Beach Fossils or Sheer Agony.
The album begins with the frantic drumming, jangly, angular guitar riffs, and the monotonous lead vocals of “Plover.” This post-punk romp raises awareness about the plight of the small wading bird that hovers near the endangered species list. The song’s chorus is a rhythmic merging of snare drum and repetitive guitar riffs. The album bounces from playful to darkly sinister without missing a beat. The eerie, crashing tape loops, unrelenting percussion, and grungy acoustic guitar chords of “Pooling Rain” achieve a trance-like effect while guitar lines meander and repeat into the noisy void.
“The Light” sees Variety doing their best Trout Mask Replica with a jaunty riff that repeats for the duration of the song while a winding vocal discusses the possibility of turning aside evil ways and longing for a light of unknown origins and intentions. The dark dirge of “Urocyon” startles with mesmerizing, repeating guitar lines that dance over a spacious snare that echoes like a dim cavern. The title track has some of the previously monotone guitar riffing, but the demonically-deep vocals have been exchanged for something a little more light and melodic.
After a short distorted piano interlude we are treated to the sludgy slacker rock of “Valentine.” Apparently a cover of an unreleased song by a friend’s band, it’s easy to hear the careful handling of the tune which highlights a friend’s gift. The album’s catchiest guitar hook creates the perfect atmosphere for the laid back vocal delivery. A lovely violin/guitar/ebow adds a thematic ending to the track.The start/stop minimalism of the distorted acoustic guitar of “I Thought It Was a Cat” and the punky and urgent sounding “Skeletal Offerings” both further contemplate wildlife and nature as they struggle to survive.
Rounding out the album is one last song with animal connotations, but this one feels like a power pop love song in the style of The Who. A slippery guitar lead mirrors the chorus vocals before joining in a climactic guitar crescendo. Subtropical offers experimentation without ever losing energy, exploring dark territories and contemplating the beauty of nature and wonders of how it survives. Lyrically bleak at times, but with a tenacity that encourages action, Subtropical is an appropriate record to put on as we gear up for a new year.