Jesse Dewlow is People Skills and Gunshots at Crestridge is the second album from People Skills. The record accommodates a wide range of sounds from the spectrum that is experimental-indie, including rock’n’roll slurs on the one end and malevolent aggro-electronics on the other. This album is available on Vinyl LP.
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It’s forever murky in the bedrooms of Blackest Ever Black label dwellers, with People Skills offering the latest vantage point on which to see no good views. Jesse Dewlow’s new record of broken songwriter pop uses dub beats, budget melodies and the odd gentle blast of noise as tools of convenience on a record that’s constantly being buried and dug up again.
To start a record with an opener like “Obstinate Truss”, as fragmented and incomplete in its ways as an olde Guided by Voices number made goth, suggests you’re not gonna be making any particular thing for your listener to invest in. Regardless, the record charms and disarms, usually together, with its harsh noise folding into a lonely tune like “In the Mulch and Trimming”, whose absent minded guitar plucks mix with a looping beat and the four walls far, far away to recall Have a Nice Life’s Dan Barrett. As the record goes on, Dewlow reveals hidden gems, such as the slowcore strums of “Town of Diana”, which do little more than sound pretty and lonely and win me over for promising to do nothing more.
The eight minute “Mint Julep” is a slightly stuttered lo-fi emo synth jam, and that too is good, because Dewlow focuses in on it and sinks the listener with it. In fact whatever tinny, guzzling instrument Dewlow’s playing, and in whatever genre -- even the bleepy bloopy no wave ‘n’ roll of “89 Public Render” -- I feel like I’m getting submerged in the chaos. Listening to him is like getting caught in quicksand very, very slowly.
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