There’s only one thing you need to know about Howler: they’re talented beyond their years. Based in Minneapolis, they are Jordan Gatesmith (vocals/guitar), Ian Nygaard (guitar), France Camp (bass), Max Petrek (keyboard) and Brent Mayes (drums), and their ages range from 19 to 24, respectively. While there’s “nothing really serious about his band,” they somehow nonchalantly create sludgy surf rock that’s definitely worth hearing. And like sand at the beach, America Give Up’s catchy jams will stay stuck in your ears for days.
The album opens with “Beach Sluts,” a title that lets you know exactly what kind of music Howler makes — sarcastic, occasionally foul-mouthed “surf thrash.” With fuzzed-out vocals, withdrawn verses and howling choruses, Gatesmith’s delivery sounds a lot like Julian Casablancas’ early style. The jam itself follows suit, jumping from slow, melodic verses to frantic, thrashing pre-choruses to amped-up, anthemic choruses. Hand claps add a touch of humor, and the guitar melody mirrors the vocal one to almost beat you over the head with its catchiness.
Sounds Like:
The Jesus and Mary Chain meet The Strokes in Cali for a surfing contest
Next up is “Back to the Grave,” a short, upbeat jam which Gatesmith admits was intentionally written in the vein of The Jesus and Mary Chain, only without a chorus. “Where will you be / in 2023? / In someone else’s arms / and not with me” he croons in a deep, almost comical tone that subliminally tells you these guys don’t take themselves too seriously. The off-the-wall yet right-on-cue antics continue with sludgy power chords set against falsetto woo-hoos and wailing harmonies that get the muted treatment. The catchy, almost-raucous affair ends in a heavily affected, whirring burnout.
“This One’s Different” is a title of deliberate irony, in that the song was the impetus for the Howler’s sound as a band (see the link above for more on that). Presumably it’s about a girl Gatesmith wants, but the bigger picture is likely about that youthful impatience for something beyond one’s sheltered, boring existence. A driving, cymbals-crashing and guitar-wielding jam, the track is the first on the album to spotlight Nygaard’s scorching lead guitar work, and there’s plenty more where that came from later on. Appropriately, the song’s breakneck speed makes it feel as urgent as its sentiment.
Then there’s the purposely confusing title track, “America.” Howler knows full and well that this album is anything but political, but they like being assholes. Granted the song has a stance, it’s more cultural than political. “Shotgun wedding at a quarter to five / I shot the husband, and I sleep with the bride,” Gatesmith sings, shunning planning ahead in favor of spontaneously living in the now. With plenty of jangly, frenetic guitars and layered background vocals throughout, the song takes an interesting staccato turn at the end for a nice change-up.
Music video for “Back of Your Neck”
“Too Much Blood” suitably opens sounding like a funeral dirge with only organ and drums. Those two are quickly joined by slow, grungy guitar and soft backing croons and the track takes its form with a distant, spacey, almost-creepy-yet-addictive vibe. Howler again stirs up sounds similar to The Jesus and Mary Chain as Gatesmith provides disaffected vocals and Nygaard brings out screeching echoes from his electric guitar. Very weird but very cool.
“Wailing (Making Out)” is a standout track that made it from Howler’s EP to America Give Up. The punk-pop gem’s carnival-esque keyboards, staccato strumming and guitar-and-drums break is all youthful angst at its finest. With sarcastic lines like “I wanna die young as a star / Is that too much, is that so hard?,” the track’s tone reminds me of MGMT’s “Time to Pretend.” Gatesmith aptly wails the closing chorus/bridge as if everyday life really is a living hell. Burning bright like that star mentioned earlier, the track’s brilliance is only dimmed by it s brevity, clocking in at just 2:02.
Headbangers, get your necks ready. Sounding like the soundtrack to a fast-forwarded surf video, “Pythagorean Fearem” brings a breakneck bass line, screeching guitars, cymbal-heavy drums and more super-deep, almost laughable vocals with the occasional shriek. It’s got a killer crescendo halfway through, followed by a breakdown that politely lets you catch your breath before it all builds up again for an almost-as-strong guitar-heavy ending.
Key Tracks:
Beach Sluts, Wailing (Making Out), Pythagorean Fearem, Told You Once, Back of Your Neck, Free Drunk
“Told You Once” is an instant hit that’ll get your lip curling and your foot tapping. Its jangly, acoustic guitar backing carries a bouncy feel throughout, well punctuated by hand claps and snare hits. Then its super-catchy surf rock guitar hook comes riding in, soon followed by a wave of sludge guitar as the solo deftly maneuvers through its ominous force. Forget the downer lyrics like “I hate myself more than I hate you” and enjoy this jam for the mini-masterpiece it is.
Another sand-infused tune follows right after, as the opening guitar hook and Beach Boys-ish backing vocals open up “Back of Your Neck.” The song’s jumpy, nervous feel is comprised of staccato guitars and drums, a West Coast guitar solo, and falsettos so high, someone must be squeezing their balls. It all slowly falls away before coming crashing back in like a 60s beach blanket party.
“Free Drunk” blends a chill vibe with shoegaze stylings. Apathetic lyrics, popping drums and spacey keyboard effects create a swaying, almost seasick track. Plenty of catchy backing vocals and understated guitars add to the motion, until this smooth, soft jam is over before you know it.
Best Lyric:
“I think you’re mid-July/ Smoky, wet and hot as a crack pipe” - “Back of Your Neck”
With its staccato pulsing and chanting, “Black Lagoon” sounds like a Bass Drum of Death B-side. Nygaard’s antsy guitar work rears its wily head again, over surf chord strums and crashing cymbals. Gatesmith’s vocals spell out the song’s title and cleverly turn the O’s into extend oohs. Its sarcastic flair definitely turns a beachy feel into a more dark, dangerous lagoon, as the lyrics recount a story similar to the plot of old-school horror film Creature from the Black Lagoon.
“Pale Skin” rounds out the album with breathy vocals and chug-along drums. Signing off in Howler’s signature style, the song takes fuzzed out guitars to another level, delivers couldn’t-care-less vocals, and clocks in at just under 2 minutes as the record’s shortest song. Still, it makes great use of instrumental layering and lack thereof to build interesing tension throughout.
Overall Rating:
America Give Up is a seriously strong effort for a first album by such a young band. It’s a lot of surf, a lot of sludge, a lot of sarcasm and a lot of simplicity. These kids are clearly still impersonating their idols, but they’re also making some interesting choices along the way that give Howler its own sound most of the time. All five of these guys are skilled musicians despite their young age, and they’re showing promise as a good young band that will likely mature to be great. So if you like guitar rock with a surf sound that’s fuzzy at the fringes, don’t give up on Howler.
