songs for scaffolding LP
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the eighth proper full-length in tyler whitneys catalog of consistantly grand output. this collection, recorded as a duo (in an old candy factory)- rises up outstretched and notches another bedpost with the beauty and haunted melody of previous acoustic pop sense, yet outsines with a perfection of understanding...the higher the rubble the closer to god, and all the more un-passable.
limited to only 550 copies in 2-color silkscreened sleeves. co-released with monotone records.

Songs for Scaffolding’ is the eighth long-player of songs by Chauchat, that is Tyler Whitney, Erik Sahd and friends, who play the sort of antihistamine rock of Early Day Miners or Windsor for the Derby, with the single-authorship of Thanksgiving or, more succinctly, a Bright Eyes of less self-importance. Aiding both acoustics and mood, the band have a penchant for squatting in industrial decay whenever they return to Whitney’s native Lancaster, Penn., and ‘Songs’ is no exception: the sound is big but restrained, always verging on massive. A false start, the plaintive “Brave Shield” gives way to “Practice in the Rubble”, a post-rock lesson in Ganger or Low with little vocal encroachment as the lightly-effected guitars wheedle their way north. “At the Trough” has Whitney sounding the most Oberst while the band sounds most Orange, the best example of the propulsive drumming and cutting lyrics which make the collection both stew and sear. This A-side power-trio finishes with “Stumps (Little House on the)”, a Daydream National anthem with guitar-vocal melodic agreement and hammered tomtoms - a clapping, chorused melancholia faintly-tinged with a twang. On the reverse, whatever discontinuity in song progression apparent by halftime is easily overshadowed by the blunt individuality of each track in the larger scheme, evident in timbre, tone, and structure, as “Like a Drum” moves through three modes of nervous miniatures reliant almost on pure passive aggression. “Amsel” takes the Oberst-plus-Low equation to sound like Titus Andronicus the morning after, while instrumental “Estate Two” is like a prolonged intro to “Dance Me Off a Cliff”, the disc’s most aggressive piece of ‘Goo’-inspired Emo (Blinker the Star once recorded a version of this), its chorus made of frantic percussion and shouted vocals swirled into the cold caterwaul of the mix. As a reminder of the writer beneath and his pen, “Empty Crib” strips away the artillery to end the album with acoustic slides and the moody fucker we first woke to. 550 copies on black vinyl and screened sleeves. Very recommended. Chauchat is a machine gun. - ANIMAL PSI

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