Bedhead - 'The Dark Ages' (Trance Syndicate)

'The Dark Ages' last a few hours according to the lyrics and that's all the time that's needed to erase memories, but mine will last forever. My college years are filled with them - memories of listening to this and Beheaded and some Low albums at 3 AM and thinking about how amazing it is that there are rock bands who like to be quiet and nuanced. "Perfect music for 3 AM!" I would always say, certainly moreso than the KLF's take. Plus there's memories of my own hands, snaked along a Mexican Telecaster neck in dingy basements as my fingers pluck out slow, snaking melodies lifted from Bedhead records (not note-for-note, but lifting the general feel, dig?). 'The Dark Ages' might be my favorite Bedhead song; the drums pound along with a steady beat and switch to a ride-cymbal heavy pattern during the chorus, which is when the leaves fall from treetops and let light into the forest. By the end it's crescendoed into a crunchier, more powerful version of the same chords, but it resists the temptation to totally rock out and cuts things off right when the fire is in sight. 'Inhume' also does the slow build, instrumentally, with feedback entering like a muted trumpet. The chords shift slowly, emerging with distinct personalities, and this is music for guitar bands, indeed. Maybe one of the reasons I never got into Mogwai was that their quiet/loud thing always seemed too easy and much less controlled than Bedhead's approach. Actually I probably never thought about it that much -- really, I was just ready move on by the time Mogwai hit the scene. There's only three songs on The Dark Ages but all three are fully satisfying. 'Any Life' is the last and it brings back the slight country and western tendencies that have crept up in the past two CDs. It's just a twangy guitar lead, almost playing the role of a pedal steel, but it's enough to flavour this tune, a gentle vocal-driven meditation that ends this EP on an understated note. But these guys are the masters of understatement, after all.

Bedhead - 'WhatFunLifeWas' (Trance Syndicate)

I think you'll find extremely enthusiastic Bedhead fans hidden in pockets of weird all around the world, and I'm certainly one of them. Out of all that 90s indie/post stuff they stand out as something special and though it's been quite awhile since I've given this one a spin, it's a welcome sound to these ears. A lot of bespectacled, button-down shirt-wearing kids with guitars were excited about this band in the mid 90s (hand raised here!) because it falls into that whole guitar-based reaction to punk that was happening at the time. I think not just of Bedhead but of bands like the Sea and Cake, poised on that moment before their musically exploratory tendencies led to outright fusion or experimentalism, but still striving for something. Not that there's anything particularly progressive about Bedhead. It's "indie rock" in the brainy camp, with three guitars, whispered low key vocals and long dramatic arcs that rely on timbre, dynamics and other subtleties. And that was music to my ears in 1997 when I first heard this band, starting with Bedheaded and eventually moving back to this debut. 1994 was when WhatFunLifeWas hit the scene and it's easy enough to mistake these guys for goths with a title like that (and a subsequent Joy Division cover shines more light on that angle) - almost enough to make up for the awkward, slightly stupid band name. And while that first impression of Bedhead was that they avoided rock pyrotechnics in favor of clean channel moodyness and restraint almost to the point of severity, WhatFunLifeWas actually burns quite a bit of amptubes. It's not that it's agressive in any way but rather a slow burn; distortion is more like fuzz, another texture particularly on songs like 'To the Ground' and 'Haywire'. Vocals, well, not any of them stick with me in the slightest and really the same can be said for the songwriting on this one; this is my least-listened-to Bedhead release and the others I've listened to plenty. I got this one last, maybe when that star was fading -- you know how that goes. Which means, if I can get myself back into that mentality, WhatFunLifeWas could be experienced as if for the first time. That would involve re-widening my eyes and truly believing in some sort of Achievable Indierock Ideal, something involving strange tunings, guitar effects as political statements and some narrow astrovision that worked for me then. I guess this was a favorite band during one of those weird transitional periods for me and I haven't shed any of my affection, and there's nothing to be ashamed of here. Though delivery, production, artwork and mood firmly place this in the mid90s guitar indie universe, nothing feels really dated. Time will tell if Bedhead are timeless but I definitely throw on The Dark Ages at least once a year (and we'll get there in a sec) and nothing is lessened. They chose their tools wisely, yet still gave themselves enough room to swing wide. 'Foaming Love' is one such example, where you can hear their Texas roots in the swinging country cadences, yet it's still enough jangle to sweep up the 80s college puddle and enough tension to nod to Mission of Burma, Bitch Magnet, Slint and other more direct precedents. It's rock music but it assaults the conventions, just more quietly. Sometimes subtlety can bash you over the head - let's move on to the CDs I've worn out and let this one stay fresh.