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Pylon, "Gyrate Plus"
Sharp-edged yet danceable, Pylon's 1980 debut was among the first to bring attention to the diverse musical hotbed of Athens, Georgia, and yet somehow it slipped through the cracks when the world went digital. Thankfully this egregious oversight has been corrected and released back upon the unwary world sounding better than ever.
Guitarist Randall Bewley and bassist Michael Lachowski already had a clear vision for their band before auditioning Vanessa Hay on Valentine's Day 1979, and yet her presence managed to fuel them to even greater heights. Becoming the group's voice, Hay's impassioned breathless growling panting reactionary yelping howl is one of the best things about the group. She keeps them viciously alive even 30 years later.
Yet each musician contributes a unique element to the group's sound. Curtis Crowe's drumming is fantastic and keeps the band's fire constantly churning. More than a mere timekeeper, his power of expression elevates the instrument far above the ordinary. Lachowski and Bewley serve much the same rhythmic and melodic purposes as each other yet they keep their individuality intact. That they share the space within the compositions rather than fight for it enhances the band's chemistry.
This painstakingly restored recording starts off with the addition of the band's first 7", "Cool/Dub." It's an auspicious beginning with all of the essential elements already in place, but the album's true opener is "Volume." Laid-back yet confrontational, here the band kicks things up a notch. The pace is relentless until "Weather Radio," a light instrumental that serves as a quirky intermission. They return to a steady attack, and though they may strain against themselves a couple of times before the album's finished, they always manage to revive with greater ferocity than before. "Read a Book" and "Working Is No Problem" are standouts amongst several highlights. Perhaps the most fiery song is the original closer "Stop It," Hay's ranting lyrics concluding the album with heated anticipation as to what the band would accomplish next.
The bonus tracks included here at the end are somewhat forgettable since the album ended perfectly the first time around. Even the previously unreleased demo "Functionality" describes the group's aesthetic but is of more historical interest than listening pleasure. Regardless, the single and original album alone are enough of an attractive package to make any extras unnecessary.
Independent of its context, this recording is as exciting as ever. With a perfect balance of feeling and intelligence, they communicate a unique vision of singular purpose. Whatever glory the band lost when this album fell out of print should now be fully restored. This isn't a history lesson, it's an ass-kicking.
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