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the mae shi, "heartbeeps"
5RC
The 15-year-old version of me loves The Mae Shi. The songs on their second release for Kill Rock Stars imprint 5RC carry all the hallmarks of what my inner child holds near and dear: fucked up guitars, anarchic rhythms, singers barely in control of their vocal chords. So I have to trust my more awkward and chubby counterpart when I say that Heartbeeps is a great record. While 2004's Terrorbird was impressive in its ambitious scope (33 songs in 43 minutes) Heartbeeps is just as impressive in its consistency. Songs like "The Meat of the Inquiry" and "Born for a Short Time" charge out of the blocks spitting strangled notes and caustic noise to all in their path at a breakneck pace. It's no surprise then that "Crimes of Infancy" ends in the sound of the band collectively hyperventilating, seemingly exhausted by their efforts. With all the breathlessness, it makes sense that this nearly sixteen minute endeavor is broken up with small slices of keyboard driven synth-pop such as "Spoils of Victory" and "Spoils of Injury." The Mae Shi are best when they stick to the noisy mash-ups. "The Universal Polymath" and "Heartbeeps" end the album with a great one-two punch, stretching out the time constraints and allowing the tempos to slacken without losing any of their thrust. "The Universal Polymath" could be misinterpreted as dance-punk, but its fractured drums, high frequency guitar, and its succinct conclusion challenge all the precepts of that genre while still managing to capitalize on a ferocious groove. Meanwhile, "Heartbeeps" (in its third incarnation on this release) achieves a nervy, anxious mood where hi-hat fills, analog keyboards, and the desperate vocals of the four singers heighten the unease. While Terrorbird was plagued by the fact that it didn't know whether it wanted to move or pummel the listener, Heartbeeps achieves an excellent balance of The Mae Shi's more caustic approach and their desire for a dance party. My 15-year-old self couldn't be happier.
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