Review: Scott McCloud ‘Make It To Forever’
Scott McCloud will be a familiar name to those with a love for post-hardcore and hardcore punk (such as myself), particularly as a part of the fantastic and legendary bands Girls Against Boys and Soulside. I especially have fond memories of cranking House Of Gvsb repeatedly throughout the late ‘90s and early ‘00s, one of the few decent records I remember jamming at that time. McCloud has also been involved in the indie bands Paramount Styles and New Wet Kojak, as well as guesting on AGRIO’s El Amigo Americano. Make It To Forever marks his solo debut and is being put out by the wonderful folks over at God Unknown Records.
The record is inspired by a gig that Girls Against Boys performed at, and which clearly meant a lot to McCloud as he describes the experience in the promotional notes as ‘dream-like’. Furthermore, he states the songs are ‘about memories – romances – ideas – which remain alive and ever changing’. I suspect this will be a mellower, introspective affair than what he was producing in the ‘80s and ‘90s and thus make for interesting listening.
Opener and title track, Make It To Forever, demonstrates a punk ethos despite the stripped-down no-frills nature of the music ala Space Oddity, undoubtedly my favourite David Bowie album with its folk and psychedelic flavourings. Down Through The Stars sounds like Stereo/Mono era Paul Westerberg when he was recording in a lo-fi fashion, as opposed to the more polished early solo work. Vocally, I was also reminded of the Replacements frontman and thus got a huge kick out of this particular number.
Moonlight Stagedive sees a slinky sax accompanied by some Beck-esque anti-folk, it also recalls DC contemporary Ian Mackaye’s indie project The Evens, very interesting. Abandoned In Flames features lush string arrangements to give the whole affair a dusty western, alt-country kinda vibe, while Come Around features ghostly female vocals and offers a beautifully ethereal dark gothic folk feel, which manages to be both haunting and soothing simultaneously.
These intimate and delicately performed tracks are so well constructed that you’ll forget that there isn’t a power chord or angular riff in sight…
(I Got) Devotion injects a bit more energy into proceedings with its intriguing mix of Bo Diddley rock and roll, ‘60s psych and even a touch of Latin music. This is a pleasantly catchy, surprisingly playful number. Spaceship contains somewhat whimsical lyrics as well as a languid slacker sensibility that one would find common with Evan Dando of The Lemonheads. Skin Of My Teeth recalls The Doors around the time of LA Woman with its blues and funk touches, but sans Jim Morrison’s sexually charged swagger, pretty darn good.
Hold Me Tight, at nearly five and a half minutes, is the longest track on the album and has a cool, anthemic Bruce Springsteen feel to it. The tension builds, the music swells before subsiding every now and again to leave you gripped on the edge of your seat throughout its running time. Somewhereness utilises Lou Reed’s deadpan, talk-singing delivery, while musically utilising The Velvet Underground’s brand of classy art-rock and Lou’s more straight-ahead early ‘80s solo work with the late, great Robert Quine (R.I.P.) to brilliant effect. Staring At Yourself sees elements of psych, space-rock, shoegaze, soul, gospel, and blues all orchestrated as grand, cinematic soundscapes in a fashion not far removed from bands such as Spiritualized. The music glides along and concludes the album in an almost ethereal fashion.
Those expecting McCloud’s earlier bruising output will be left disappointed; however, what you get is far from being ‘mature’ and dull. These intimate and delicately performed tracks are so well constructed that you’ll forget that there isn’t a power chord or angular riff in sight.
Label: God Unknown Records
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Scribed by: Reza Mills
