Because Montreal based two piece fuzz outfits can’t get enough of Kevin Smith’s 1995 slacker ode ‘Mall Rats’, Solids gave the cover of their debut album over to a Magic Eye painting. Can you see the picture? Just squint!
Or maybe you’re like me, and sees through the bullshit that is a Magic Eye painting. That shit isn’t real! It’s an elaborate ruse, a distraction from the freakin’ media, to ensure we’re a bunch of confused, cross-eyed idiots! Did you even realise that we elected Tony Abbot Prime Minister of Australia? What the shit? How fucking enthralled were we in Magic Eye paintings that the people elected that idiot?
Solids, like me, see through the bullshit. They don’t have time to sit down and talk about feelings with an acoustic guitar in hand, and there’s two reasons for that. 1. Folk singers never accomplish shit (even Bob Dylan agrees) and because going faster than the vomit escaping one’s mouth upon hearing ‘Achy Breaky Heart 2’, is badass.
Solids never withhold their blistering pace from the audience, ensuring that your ears are in tatters by the end of a single song. There’s a disgruntled howling guitar monkey that went to the studio with Xavier Germain-Poitras and Louis Guillemette the day they started ‘Blame Confusion’, and he didn’t leave the entire time. Instead, any time either tried to play an instrument, the beast would open its mouth and bellow unruly fuzz-isms into the microphone. Eventually, the pair were resigned to letting Mr. Monkey fuck shit up, and record drums and vocals behind whatever glorious cacophony the ape could muster.
Even though they are armed with a sonic ball-buster capable of summoning Cthulu, a significant reason as to why Solids sound so great on ‘Blame Confusion’, is because they muster some intensely genuine melodies on their songs. Opener ‘Over Sirens’ pummels, but it does so with fists like the ones Rocky would throw at Apollo Creed when they were training buddies. The viciousness is done in good humour, not with the intent to harm, but to build. It is also done with incredible technique, showcasing Solids’ ability to be your mate, slowing down where absolutely necessary, and speeding up to ensure you don’t become a little bitch about it. Same is the case for the melody-injected ‘Cold Hands’ and ‘Traces’. The ability to throw in as much energy as Solids do, and still have a thrusting, towering riff at the centre of the piece, like some sort of charismatic Eye of the Storm…well, that’s just a little bit breathtaking.
However, sometimes Solids don’t connect with that strong point of that full propulsion as with aforementioned songs, and this can cause these tracks to drag a little bit. Instead of nail-biting, attention-hogging, nuclear-fuelled garage explosions, we’re dealt with reverb that whizzes by, but doesn’t force you to choke on the sonic boom it leaves in its wake. Unlike fellow country-men and ambitious sources of pure energy, Japandroids, Solids lack some depth in a few songs that don’t hinder the album, but blur the edges a little bit of it being a sharp, focused peice.
So, although you could never accuse Solids of never putting in 150%, sometimes they hit, sometimes they don’t. For a debut album to take on a challenging noise-pop concept that’s really only been perfected by No Age and Lightning Bolt, and succeed for the most part, is a nod in the right direction. ‘Blame Confusion’ has all the signs of being a strong building block for future successes, and a band like Solids is going to be on the rise.
Pick up ya copy of ‘Blame Confusion’ here.