Tag Archives: Outlander in the Emerald City

Outlander in the Emerald City: Lync – These Are Not Fall Colors (Flashback Album Review)

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Formed in 1992, Lync was one of the pioneers of the indie rock scene that grew out of Olympia and Seattle in the early- to mid-1990s.  Comprised of vocalist/guitarist Sam Jayne, bassist/vocalist James Bertram, and drummer Dave Schneider, Lync’s strengths encompass discordant riffs, intertwining guitar and bass melodies and a heavy, driving beat to keep the ground solid underneath.  Jayne’s vocals are beautifully indistinct while maintaining a screechiness that is bound to make your head ache delightfully.  With only one full album under their belt, These Are Not Fall Colors showcases the band in a head-bang worthy package, drawing comparisons to hardcore favorites such as Fugazi and Unwound.

Where to listen: The full album can be found on YouTube (streaming after the jump)

Where to buy: Check out Lync’s bandcamp (http://lync1994.bandcamp.com/album/these-are-not-fall-colors) if you like what you hear!

The album opens with “B”, beginning with a bombardment of feedback extending into a melodically brooding riff and rolling drumbeat, wasting no time in showcasing Lync’s talents in the post-hardcore vein.  The song takes off into a soaring barrage of distortion and chunky rhythms, with Jayne double-tracking his screaming vocals over the chorus.  Although the lyrics maintain an ambiguous quality throughout the song (and most of the album for that matter), a few profound lines shine through, including the repeated “You only need your own air to breathe.”  Lync’s influences can be easily traced back to classics like Pixies and Sonic Youth with their use of the (now almost-clichéd) alt-rock loud/soft dynamic; however, they implement it differently, often giving breathing room in the chorus while still never losing intensity in the verses.  “Silverspoon Glasses” is no exception to this rule, featuring swelling walls of distortion that collapse into haunting yet beautiful melodies.  The album continues with the supremely catchy “Cue Cards”, featuring the classic off-kilter arpeggio and rolling drumbeat combination, with a bass-line to guide the major melodies, a trick peers Modest Mouse picked up (and perfected) in their first few records.  The last track, “Uberrima Fides,” allows the album to close out with a bang, climaxing to a kick-ass buildup before the reverb-drenched outro jam (which takes its guitar effects from space-rock gods Caustic Resin and Built to Spill).  The feedback at the end of the track allows the album to fade out as it began, ready to be replayed and re-appreciated by its fans.  Although twenty years have passed since its release, These Are Not Fall Colors remains a highly influential record in the indie rock scene that has grown to such great heights in our alt-loving society of today

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Katie Hanford