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Headlights, "The Enemies" and split 7"
Headlights play music which is not dissimilar to their predecessors on the Polyvinyl label like Rainer Maria: a mixture of male and female vocals with high melodies and catchy phrases. Songs alternate from jumpy to languid, sometimes even within themselves. Headlights use a healthy amount of keyboards at times for atmospheric sounds, strings, or chirpy measures. It's unpretentious music: all hooks and fun without dreary concepts regarding composition.
Polyvinyl Records has been releasing unobjectionable indie rock for some time now. The first time I ever laid my hand on one of their releases was when I was living in Chicago and trying to put together an eclectic d.i.y. show on the south side. We already had some grindcore bands like Charles Bronson and MK-Ultra signed up, but needed some more fodder. Someone suggested Rainer Maria from Wisconsin and I picked up their first EP with its oppressively white, pink, and purple cover. It looked like a sunset gone wrong and the music itself was almost a collection of odes to sunsets, relationships, summers, and all of that good stuff you want in your songs. Needless to say, they didn't quite fit with the tenor of the show, but Polyvinyl has continued to release likeminded indie rock which flows from the overly saccharine to the slightly edgy. I hadn't paid much attention to the label for a while since my interests had strayed elsewhere, but the new(ish) releases by Headlights have reawakened me to the label.
The band started last year's debut EP with the whimsical "Tokyo," a less-than-high-speed journey through what could be trials of endless touring (the band has played over seventy shows this year already) or simply long-distance yearning. Though you can hear the exhaustion as the bass and guitars slide off into silence with each punctuating verse, the song never feels weary or enervated. Instead, the band keeps pushing onwards, meeting every deceleration with spontaneous energy to continue on. Erin Fein's vocals are purely harmonizing tools for the first two songs on the EP, dancing playfully around Brett Sanderson's. Fein and Sanderson split vocal duties on "Everyone Needs a Fence to Lean On" and suddenly you realize that Fein has this perfectly-formed, lollipop voice that is easier to swallow than a sugar-coated Advil. In the middle refrain of the song, her voice delicately evaporates into the swell of the music but leaves such a strong, seamless, and sweet resonance. It's a delectable aftertaste and one you should long for.
Between tours and in the advent of their upcoming (late August) full-length, Headlights have released a split 7" single with The Most Serene Republic. Resist all the hype going around about the Arts and Crafts label and how infectious Broken Social Scene is and all that other malarkey and give the Headlights side the first listen. (Actually, the Serene Republic song is pretty good, but that's not my concern here.) Plodding piano, lusciously exasperated vocals, Humpty Dumpty motifs, and a deliberately building climax grace all four minutes of this gem. When that song gets you hooked, go find a sample MP3 of the Headlights' song "TV" from the upcoming album. It will be your unpretentious summer anthem.
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