Although there is clearly a sort of fractured shoegazy-post-punk vibe at work on “The Return,” a single foreshadowing Shesgot’s new album A House Into a Body, there is nothing here to suggest this is a band merely reworking the sounds of the past. Slight Bauhausian vibes aside, this is the sound of a band walking confidently into a bright new, and slightly unexpected, future.
It may be a song shot through with musical shade and brooding sonics, but it is the chiming guitar threads that both complement and contrast those dense rhythms, the voodoo blues and apocalyptic grooves that run through its heart, that turn this into something unique. But what? It’s hard to say, really, a blend of tribal indie and gothic bass pulses and dystopian dance energies and…well, who knows. At this point, you just have to make up your own compound words and genre descriptions, which is always fun.
That’s the great thing about “The Return,” even I, someone who spends every waking hour trying to translate sound into words, am struggling to describe what is going on here fully, and that can only be a good thing. After all, does it not follow that the harder such a task is, the more original, adventurous, and exciting the music must be? Yes, it does.
And the video that accompanies the song further pushes the sense of juxtaposition and dislocation, a series of 1930’s film images of jollity and cinematic color flitting past the listener as the music drills down into the underground, the unknown, and the unexpected.
If the best music is the hardest to describe, the logical conclusion is that if it is easy to pigeonhole, then you must have heard it all before, then “The Return” in particular, and Shesgot in general are wonderfully out there and excitingly unique.
What more can you ask for?
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