Static Daydream at Whisperin and Hollerin

Static Daydream are the latest band involving Paul Baker who you may know from either Skyware or Ceremony.

The album opens with More Than Today; a song drenched in reverb and distorted guitars with female vocals that recall the Vaselines or maybe Lush. It takes a couple of listens to start hearing the lyrics but it doesn’t matter as the noise they make is cool enough without knowing what they are singing about.

Nowhere To Hide sounds like the bastard offspring of The Jesus And Mary Chain (circa Never Understand) and My Bloody Valentine if they’d been locked in an echo chamber for a month or two. Run Into The Night is a little bit calmer so that it’s almost like John & Jehn. A very cool sounding song.

Blue Tambourine Girl ups the distortion a bit and ends up sounding a bit like Velvet Crush or the Drop Nineteens. This would have been perfect for college radio in the early 90’s. Just Stay is drowning in reverb before getting to the quieter chorus as if to say that he’ll calm things down if she stays before hedging his bets and hitting the distortion button again.

Until You’re Mine has great echo-laden vocals that sound like they are also sung through a valve microphone over hailstorm guitars whipping up a storm of noise to make sure the sun shines again as soon as you say yes to him (go on you know you want to) before it calms down for the instrumental passage that could be stolen from Joy Division.

Another Rainy Night Without you is all windswept guitars and forlorn vocals falling into a pit of feed-backing reverb-laden despondency that makes despair seem so attractive. When I Turn Round You’re Gone reminds me of My Friend Goo by Sonic Youth: it’s pretty damn cool before the real slow down for the fade out.

The Only One isn’t a song about Peter Perrett’s solo band but more drenched in reverb indie pleading for the love of the only one he wants or desires. When She Falls slows things down a bit and the tambourine sounds like it could have been nicked off a Mazzy Star tune while the guitars still feedback into the reverb pit; only slower than on the rest of the album.

The album closes with I’ve Destroyed Everything. No, you haven’t as your guitars and amps and drums still work fine and that echo unit is still sounding OK even if the relationship is in tatters. This is a cool record and music for anyone who loves to drown in feedback reverb and echo.