By Erik Stefan
The Whigs are a virtual Mendoza line for indie rock. Their proto-grunge leanings from Crazy Horse-era Neil Young fits within the alt-rock leanings of the radio rock crowd, while their song-craft and R.E.M. guitar-chime make them darlings among the tight-fitting t-shirt crowd. So, how indie is indie? Sites like Pitchfork already have dismissed In The Dark
Like a vibration, In the Dark picks up where the best parts of Mission Control left off. When The Whigs are on, the songs come fast and hard. On In the Dark, the tempos push, the drums are in the forefront, and the vocal howls are equal part pain and wonder. As a result, In The Dark is The Whigs most consistent record to date. Like their fellow-tourmates, The Kings of Leon, The Whigs have learned how to turn slow-burning fury into momentous anthems. The songs on In The Dark are bigger than the Athens’ clubs and frat parties where The Whigs got their start. Instead, they’re better suited for more cavernous confines like…I don’t know…Madison Square Garden.
Hence, a backlash is likely to ensue. This record is fantastic. It deserves to be on the radio. I imagine The Whigs are poised for great things and heaps of adoration. This warranted attention will inevitably lead to the indie crowd losing their sense of “ownership,” ending in the kind of break-up where neither can really forgive the other, there’s no good reason they can’t still be friends, but they never are again. I’m not sure if this quick hook will be good or bad for the band. Society has developed a chew you up and spit you out mentality in regards to the latest and greatest. The indie community is no different and may actually have a slightly higher rate of shifting preferences, as it relates to music.
But, I’ve digressed…Getting back to the music, The Whigs come out swinging with a 1-2-3 combination highlighted by “Black Lotus.” The guitars buzz, the howls are guttural, and the drums hit like a hangover before you’ve gone to bed, particularly on opening track “Hundred/Million.” In the Dark’s consistency only falters twice with “Someone’s Daughter” and “Dying,” which would be a great song if it didn’t rein back the tempos that have pushed so fervently to that point.
“I Don’t Even Care About the One I Love” and “Automatic” restore order, and The Whigs never cease control again. On “The One I Love,” I can’t help but imagine a horn section blasting along with the chirping guitars. The Whig’s restraint from drifting away from their core instruments, though, should be commended. In The Dark highlights The Whigs’ strengths and doesn’t muddy the waters with unnecessary coloring.
In The Dark isn’t meant to be Kid A, so the indie crowd looking for the unheard will not find it here. But, if only the new and unique is relevant, then how has Vampire Weekend been able to plagiarize Graceland to such critical acclaim? I don’t have an answer to this question, but I do have a suggestion: Don’t give up on The Whigs because the choruses have gotten louder and the production more pristine. They’re still the college rock band you loved, the budget just got bigger.
Rating: AAAA
Listen: The Whigs – Hundred Million
by Gunter Grass. All are welcome.
