Mystery Ship, EP II: You Could Tell it by the Sound
Presented across two vinyl sides released by Knick Knack Records, the aptly-titled EP II from Seattle foursome Mystery Ship revels in a swath of classic heavy rock and blues influences. One might also see them as taking cues from the European retro-minded jetset, acts like Graveyard and Kadavar, but as they display in the smoothly executed jam/build on the closing “Wild Eyes,” they have a sensibility of their own to work within, and a recording job from Jack Endino results in a sound that’s wholly natural, but not reaching for any kind of heavy ’70s lo-fi analog-ism. Nothing against that approach or for it, it’s just now what Mystery Ship do on EP II. Rather, guitarist/vocalist Michael Wohl, bassist/vocalist Alex Hagenah, guitarist Josh Kupferschmid and drummer Travis Curry take classic swing — and in this, the work of the rhythm section particularly is not to be understated — and couple it with an easy, engaging laid back flow that lasts throughout EP II‘s 18 minutes, giving an increasing view of complexity at work leading up to the culmination of “Wild Eyes.” “Better Off,” “Paleodaze,” “Man about Town” and “Wild Eyes” each arrive as longer than the last, and the effect that has is that Mystery Ship increasingly draw the listener into the progression. The release isn’t really long enough to give a full-album flow, but given how one song moves to the next, whether it’s the quick one-two of “Better Off” into “Paleodaze” or the more languid shift between “Paleodaze” into “Man about Town” — never mind the side switch that brings “Wild Eyes” into the mix — there’s enough overarching groove on EP II to reinforce the idea that Mystery Ship will have no trouble crafting that full-album flow when they get there.
The overall course of EP II is somewhat less epic than the Adam Burke cover art might lead one to believe — even “Wild Eyes,” which tops seven minutes, does so without relinquishing its modest, organic vibe — though the cover remains appropriate for the classic atmosphere Mystery Ship proffer. As was the case with the classic rockers from whom they’re taking influence — and with the modern, mostly-European retro bands working under similar influence, for that matter — there’s a lot of blues in Mystery Ship‘s aesthetic. Not surprisingly, Wohl and Kupferschmid lead the way on guitar, starting at a running pace on “Better Off” and hitting an early stride of intricate but not technical-sounding or showy stylistic engagement. Swaggering through a motor-ready riff, the opener is as lively as the band gets here, but they prove early that they can work across a variety of paces to effect a quality chorus that’s memorable if rushing past, extra “woo!”s added just to let the listener know the band’s also having a good time with all that boogie. “Paleodaze” makes excellent use of the two guitars from the start, but is slower and more open in the verse, bluesier all around. The interplay of lead and rhythm line gives some effect of modern heavy metal, but the context and execution is altered to make it work here, and though they’re still moving at a decent clip, when they break to a more uptempo instrumental jam in the second half of “Paleodaze,” the difference is striking, and no less so when they transition into the final verse and you realize it’s only been about three and a half minutes when the song ends. Working with a lyrical narrative and a change in vocals — could be Hagenah taking the fore from Wohl or vice versa, I don’t really know — “Man about Town” is a highlight of EP II for hitting the middle ground between the first side and the second. The lines, “I couldn’t tell if they were fighting/Till the older man went down/But he took his bottle with him/You could tell it by the sound,” make for a singularly memorable verse that’s no less a hook than the chorus that follows and as they open up to full-sounding near-shuffle, Mystery Ship nonetheless display a patience of composition that distinguishes them outright. A return to the chorus prior to the concluding stomp only further implants it in the consciousness.
Perhaps it’s a testament to the bluesy vibe on offer up to the point of its arrival, but when the harmonica arrives at the start of “Wild Eyes,” it seems so natural there that if you’re not paying attention, you might almost miss it. Well, of course there’s blues harp. There would almost have to be. That’s not to say the preceding three tracks feel like they’re lacking without it, just that it makes sense for the closer and B side when it arrives. An early course of verses and choruses is established, comfortably paced, and before the two-minute mark, Mystery Ship shift into a riffier section accompanied by organ that reminds some of Mellow Bravo‘s raucous course as meets with Black Sabbath‘s “The Wizard” and move to a drum solo from Curry that carries them past the halfway point and into a continuation of the full-on jam. Guitars and bass rejoin smoothly and gradually shift into a build topped by a soulful and exploratory-feeling solo, dropping off for a measure again to let the drums carry into a final chorus, stepping back into the “The Wizard” for a brief moment until a solo carries into the bluesy finish. There are no shortage of twists and turns on “Wild Eyes,” but Mystery Ship make their sendoff no less fluid than anything that came before it, rounding out their second EP with a feeling of accomplishment that also holds to the good-timey ethic proffered all along. The band has reportedly already recorded a single to follow-up on EP II, so there’s apparently not much interest in resting on their laurels. It makes sense, given the motion that seems to be inherent throughout EP II. Anyone with this much boogie in them is going to have a hard time keeping still for very long.
Mystery Ship, EP II (2013)
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Tags: EP II, Knick Knack Records, Mystery Ship, Mystery Ship EP II, Seattle, Washington
