REVIEW: Whitehall Shares Album, “Swordfish Catcher”
REVIEW: Whitehall Shares Album, “Swordfish Catcher”
Words by: Ysabela De Ocampo
In case you missed it, South Carolina-based indie band, Whitehall, released their latest endeavor, Swordfish Catcher. This second full length offering comes as a reflection of their collective growth. The 4-piece write on ideas of aging, personal growth and their thoughts and feelings as the group enters their mid-20’s. It’s a holistic idea of what this band is all about, combined with all the sonic elements that craft their earnest and hearty songs.
Swordfish Catcher opens with “Contingency Plan.” A track that introduces sonic elements persistent throughout the record. Grating guitars, mindfully placed drum beats and strong basslines to support the lyrics that singer Patty McKiernan delivers. Eerie echoing guitar riff opens “Contingency Plan,” the track immediately sets apart he sound of this southern indie rock band. Howling and pensive guitar pulses combined with a cutting tone play out as Kiernan sings, “No fallbacks, fallout I’ll be just down in the dirt. I guess it’s not the best way to live, guess it’s the way that I live.” The song explores the idea that without a contingency plan, everything is screwed if things don’t go your way.
The album has a couple of tracks like “Tuesday,” and “Capsize,” that reflects on the lives of someone who is maturing. “Tuesday” is introduced by driving guitar beats, and is supplemented by rhythmic drums. Kiernan sings, “I want a Tuesday to feel good, without a couple beers, hallelujah. I want a routine, routinely forced by none other than my greatest fears.” These lines are followed by a well composed guitar riff that peaks through, leading you into the next verse. A thick supporting bassline emphasizes the feelings sung about the mundane weekday. “Capsize” is a reflective and confessional track about treating someone poorly in a relationship. It opens with melodic keys that articulate feelings of unease. Underneath the vocals the track slowly picks up and it’s southern tinged rhythms counteract the straight beats that dominate the track. “Capsize” closes out with bitter lines like, “Maybe I’m not as good as I thought I was. Maybe I do the things that a villain does.”
Other songs on the record like “Automated,” “Good Guy,” and “Swordfish,” offer high energy and experimental takes on indie instrumentals. “Automated” starts with lightly reverberated vocals that introduce a sweet complex guitar riff. Suddenly, an interruptive cutting guitar moment in the back contrasts the main melody. These two sonic elements are able to balance and dance well together, with breaks to let an upbeat bassline make a delightful appearance. The track has a dancey feel and closes out with hard hitting catchy electric rhythm and quirky lyrics, “Get me stupid high.” Overall, it’s a chaotic track that instrumentally wars with itself presenting a unique orchestration. “Good Guy” offers a punk tinged beat. It showcases Whitehall’s ability to write piercing guitar lines. Creaking guitars lay underneath the prominent melodies of the track, you can hear and imagine every scrub and scratch the guitarist makes. It’s a stand out track on the record, ultimately about the desire to change bad habits and be a better version of oneself. The track most similar to a title track for this album is, “Swordfish.” It’s the most energetic track with grinding guitars, beefy bass, and a racing beat. Its cryptic lyrics singing, “You’re a fucking swordfish, I’m a lazy catcher. The water is deeper than it seems to be.” It’s got a catchy chorus that further showcases the band’s ability to write with playful metaphors.
“Don’t Make Something Of This Cause Its Nothing At All” is a short interlude, with simple lyricism, and electric beats filled with pensive chords to fill the spaces. It acts like a break from the other high energy tracks and an interlude to “New Hampshire.” “New Hampshire” has a retro-toned guitar setting a mysterious tone with it’s periodic breaks for questioning riffs. “If it’s alright with you I’ll see this through, take this time for myself,” the record lyrically turns around, it’s all starting to look up. Kiernan sings, “Gonna be who I want!” The rejoice is supplemented by another layer of vocals underneath singing, “I’m gonna learn to be myself!”
“Tape Deck” and “Untitled (Call Me)” keep the head nodding pace of the record going. “Tape Deck” is a 2000’s indie-emo sounding track — reminiscent of Death Cab For Cutie’s earlier works. It’s a lyrically clever and moody track, “My throat is like a tape deck, rewinding your name. It sounds a little fucked up, because it’s playing in reverse.” Meanwhile, “Untitled (Call Me)” is similarly structured to “Tuesday.” Its leathery bassline strongly supports this track as it spirals into a fast paced outro, allowing the drums to thrash around a little bit. Reminiscent of Weezer’s 1994 track, “The Sweater Song,” “Untitled (Call Me)” opens with similar melodic guitar elements and a layer of ‘party sounds’ underneath, making it feel like this is a public performance.
“Two Eight Ten” closes out Swordfish Catcher. “It takes a similar intro as “Tuesday,” with a contemplative guitar melody which stands alone in the intro. A mindful drum track gently supports the pulse of the track without making it too energetic. “Two Eight Ten” keeps a light, feel-good vibe. It’s a largely instrumental track that drudges along, with limited verses singing lines like, “8 in the morning, construction starts next door. Using jackhammers next door, might as well be in the same room as me.” This benign verse carries a moody weight as it launches the track into a heavier beat. It’s the most dynamic track on the record, making a great summary that captures all the sonic elements that Whitehall uses throughout Swordfish Catcher.
Swordfish Catcher is a rich indie-rock offering from Whitehall. Paddy McKiernan shares, “We wrote Swordfish Catcher as a deep dive into everything we were feeling at the time-new relationships, old ones, and beginning to tour regularly. We were excited and optimistic but still wary and anxious. All of those emotions coexisted and combined into the record’s landscape. This is our account, exploring new territories and finding deeper understanding in familiar ones.” This eleven-track endeavor was recorded at by the band, with the help of by producer Preston Dunnavant at Rialto Row in Charleston, SC. Swordfish Catcher was mastered by Matt Garber at For The Record Mastering. The records various unique riffs, experimental tones and instrumental interjections, Whitehall has created a mix of Summer-y and danceable indie tracks. Every song has it’s own little surprise that sets it apart from one another.
Comprised of Paddy McKiernan[vocals/guitar], Avery Greeson[guitar], Davis Rowe[drums] and Brennan Clark[bass] — Whitehall merges dancey indie rock melodies with hungry lyricism about getting more out of life. The band has toured up and down the east coast and loves what they do.
