For a while, it seemed like Modern Skirts might join the crazy-long list of notable Athens, Ga., bands: R.E.M., the B-52’s, Bubba Sparxxx, Drive-By Truckers, Of Montreal, Widespread Panic and the groups in the Elephant 6 Collective, just to name a few. The band earned a loyal local following and drew comparisons to Ben Folds and the Beach Boys with its cheerful, piano-driven sound and multilayered vocal harmonizing. But on its third album, Gramahawk, the Skirts venture a bit too far into lo-fi territory, ultimately sounding sloppy, immature and even abrasive.
Perhaps the most disappointing aspect of the album is that it starts off with real promise. Opener “Jane Child” is catchy and cheeky, with brazen, almost defiant vocals. It’s followed by the fist-pumper “Happy 81,” which admittedly feels like cheating, since it made its debut on the 2010 EP of the same name.
But the next track, “Bridges and Overpasses” subjects the listener to a melody that’s tuneless, even grating. Later in the album comes the chaotic confusion of “Ship Shape.” Over a disorganized series of beeps and boops that sound like a dying children’s toy, singer Jay Gulley shouts, “Ship, shape / I’d love to take you out on a likable date.” It’s not clear what he’s trying to achieve with these words — a sad stab at cleverness? Or is this just lazy lyricism?
“Hitler on Wheels” is the sort of amateurish lo-fi you’d hear pouring out of a suburban garage when Mom and Dad aren’t home. The droning, uninspired vocal melody sounds like it was written by someone who rarely listens to music, let alone plays it.
Of course, the album isn’t without its strengths, and a few songs almost deliver, in that they almost sound like the Skirts’ previous work. “DUI” is playful, almost childlike — though it too is recycled from the Happy 81 EP — and “Tape Deck” has a rough molasses-like sweetness to it.
Naturally, no one puts on a Modern Skirts album when they’re in the mood for depth and introspection. This is band that made a name for itself with poppy, fun music. Of course, past tracks actually sounded, y’know, good. What happened to the band that kicked off its first full-length with the deliciously anthemic “New York Song”? Why would it stray from the sexy electronic feel of “Soft Pedals” or the sheer catchiness of “Radio Breaks”?
Every band is entitled to experimentation, and it’s clear that’s what Modern Skirts was trying to do with Gramahawk. But it’s possible to try something decidedly less rigid without sacrificing melody and solid songwriting. It’s an admirable attempt at a fresh approach, but ultimately, Gramahawk is a disappointment.
