Java.DEC.20162-2

In the three years since the release of Shell Art,
Saddles has gone through a lot of changes.
For one thing, their live show is an explosive
five-piece band, but the recordings remain true
to the core duo of George White and Charles Barth.
A lot of folks like the expanded sound, while others
enjoy the intimacy of the recordings. YOKE shows
a tremendous amount of growth for the duo. They
clearly have developed a better idea of how to write
songs that will instantly translate to their live show.
YOKE sounds like something of a transition record as
Saddles further explore their range. It feels slightly
schizophrenic, but in a good way. The newer songs
sound like they are reaching into new synth-scapes
while they also rev up the guitars. Other songs seem
more in line with the sound they defined on Shell Art,
but YOKE is a brand-new beast. Upon listening, it’s
hard to believe that the entire live band isn’t on the
recordings, but it’s just Barth and White.
YOKE begins with a weird intro of hypnotic tones and
background crowd noise, before it kicks into “Tarot,”
one of the two preview singles released immediately
before the album. It definitely shows the dynamic
duo laying down tracks with the intention of playing
them live with a band. It’s got luscious synth work.
Barth’s vocals come across with a Pet Shop Boys
vibe, and there’s a definite electronica leaning to
this one. They keep it real with a bizarre interlude
smack dab in the middle that feels like a free fall
in sound. There is a lot more going on in this song
than what immediately meets the ear, and it becomes
more fascinating with scrutiny.
“Lottery” carries on the more traditional Saddles
sound that their audience has come to know and
love. It also shows off the angelic vocals of Barth a
bit better than when they get slightly lost in the mix
live. There is a lot more soundscape experimentation
here, as well, and it comes down to near Philip Glass
minimalism for the first minute before exploding into
shoegazing guitars, reeling them in only for the sake
of more vocals. It’s a rousing, driving number that’s
been a live favorite for some time, and it’s captured
accurately on the record.
The second pre-release single was “Face Paint” and,
like “Tarot,” it shows a different side of the band’s
sound, with a deeper, darker feel. There is a cherubic
quality to Barth’s charming vocals. The breakdown in
the middle is dizzying and elevating at once, and it
very nearly reaches a crossroads of dream pop and
darkwave. It’s an alluring, intoxicating number to say
the very least.
The church organ opening for “The Altruist” is a nice
touch to a comforting synth song. It features clever
samples, which are scattered here and elsewhere
throughout the album for artistry as much as
emphasis. The mix between the melodic piano line
and the grunge-fuzzed guitar is maddening, as they
seem to duel, turning an otherwise electro-pop single
into near Math Rock territory and one of the more
unusually successful experiments on the album.
“Comfort” was released nearly a year and a half
ago, and here it shines as the centerpiece of the
album. It sounds like the transitional piece that ties
this album to its predecessor. Upon its release last
year, it seemed to be more of an oddity that didn’t
really seem to belong to Shell Art, but it doesn’t feel
entirely at home on YOKE, either. That’s the genius,
falling smack dab in the middle, while standing out
like a blazing star.
The backing track to “Eraser/How’s My Writing”
sounds back-masked, and the entire track is luxuriously
disorienting due to the beautifully complex percussion
strewn throughout. It’s something that would oddly
make one hell of a dance remix. The music swirls
around the soothing vocal, creating a convincing
aural vortex that’s damned danceable. None of that
is an easy trick, much less getting a little trip hoppy
here and there.
Meanwhile, “Red Carpet” may be the best thing
Saddles has ever written or recorded. It starts with
just a surf guitar and Barth’s vocal, delivered with a
near Neutral Milk Hotel vibe. Harmonies join in here
and there, but when the pop explodes, it goes big and
is all-out sonic bliss, filled with mad, complicated pop
obsessions. It’s the entire arrangement here—the
choir vocals, swooning keys and driving guitars—that
leaves your ears in awe. It only quiets for a moment
before the final explosion, the last crescendo with a
triumphant tone, before returning to only guitar and
Barth, as it began, before fading away.
“Old Sin” is a more traditional Saddles song and
just feels damn good on your ears. It must be
said that YOKE has near-perfect song sequencing;
every turn is interesting, every moment needed.
This is a comfort tune after the ride that was “Red
Carpet,” which is why it feels so good to relax
with this celestial dream pop.
“Rolodex” is more in vein with the newer-sounding
material, which means awesome synth-play and
soundscape fantasies with a darkwave edge. It
has a heavy Gothic vibe with various flourishes,
from haunting keys to a darker backdrop. This only
serves to highlight Barth’s golden throat and one
of his finest vocal performances. It’s a beautiful,
moving piece that could be one of those surprise
ballads that takes everyone’s breath away with its
damned intimate vibe.
YOKE finishes with “White Flag,” drenched in heavy
layers of textured guitar with soaring vocals that will
leave your head spinning. It’s a fast-paced, driving
number and one of their most aggressive songs to
date for the spirit of the guitars alone. Granted,
the slight snarl of the vocals and the lyrics of
desperation lend a hand in that regard. Still, it’s
another fully realized composition like “Red Carpet,”
and a brilliant way to end an album. Let’s hope we
don’t have to wait another three years for Saddles to
follow up this album.
Be sure to catch Saddles when they release YOKE at
The Rebel Lounge on December 16, where they will
be joined by Snake! Snake! Snakes!, Celebration
Guns, dent and Whither Is God.
JAVA 31
MAGAZINE