Geezer, Spiral Fires EP: Light in Darkworld

geezer spiral fires

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Along with tours in the US and Europe, the continued stylistic growth evident in  master thesis empirical part Box And Whisker Plots Homework Help academia essay writers scam google webmaster tools thesis theme Geezer‘s studio work has made them a stronger, more confident band, as well as furthered the chemistry between  Harrington and Touseull, who interact fluidly on the included jams throughout Spiral Fires. It may well be they’re testing the waters with Markota in the group ahead of either shows or more writing — something’s always next — but if that’s the case, then simply put, the dynamic works. Spiral Fires is Geezer‘s most out-there release to-date, and though it’s relatively brief — Geezer have always enjoyed an EP-style release; Gage was an EP originally — it flows smoothly throughout “Spiral Fires Part 1,” “Spiral Fires Part 2,” “Darkworld” and “Charley Reefer.” The latter two, which will no doubt comprise side B of the forthcoming Kozmik Artifactz vinyl, both geared more toward hooks, and particularly the closer has a bounce that stands among Geezer‘s sonic signatures, Harrington‘s tone always molasses-thick, but able to move nonetheless. They’re not strangers to boogie, and if that’s what a given listener is looking for, that’s where they’ll find it.

But even that is cosmically directed, and it demonstrates how much Geezer‘s reach has grown that they’re able to conjure such a molten vibe even over what’s ostensibly intended as a one-off recording session. The two parts of “Spiral Fires” of course run one into the next, but that transition is marked by a turn from dense riffing and more forward verses from Harrington to a mellow breadth topped with guest vocals. From roll to spread. It’s important to note that “Spiral Fires Part 1” begins with a wave of synth, since that has a subtle effect on the listener’s expectation that would be different, say, if the guitar or drums had led off. They tease a spacey course there and then make their way in that direction over the course of the nodding opener, cutting short the central riff at the end but still maintaining a direct tie to “Spiral Fires Part 2,” with Markota‘s drums setting the bed for some effects interplay as the track gets going.

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Each side of Spiral Fires has a shorter song and a longer one, in that order, and “Spiral Fires Part 2” doesn’t quite hit the seven-minute mark as does “Charley Reefer” still to come, but it’s an open spirit just the same and while Touseull lays down a smooth bassline, Harrington winds lead guitar overtop where verses might otherwise be. They don’t feel missing, those verses, in no small part because Geezer are so assured in what they’re doing that they simply carry the listener along with them on this outward course. The vocals arrive after five and a half minutes into the total 6:57, so obviously not a focal point, but the quick appearance from Pam Grande (Grande) adds a psych-soul element that, if it’s a context Geezer want to continue to explore in their songwriting, well, that’d be just fine. Though it also begins with a quick splurge of effects, “Darkworld” is a marked shift in atmosphere, with the riff emerging from that initial wash and set to workmanlike punctuation by Markota‘s snare and the steady rumble of Touseull‘s low end. Its lyrics would seem to take on more of a straightforward social commentary position, and that’s fair enough for the more grounded path of the song as a whole.

“Open your eyes/Empty the cages/A new fire rages,” intones Harrington near the midpoint of the track, and the message of “Darkworld” is pretty clear without being overtly politicized or too much of the chaotic and polarized moment in which America is embroiled. All the while, the song moves forward efficiently as the only track under five minutes on Spiral Fires, the section where it might otherwise jam out — and indeed might live — instead keeping to a shorter repetitive course that devolves into swirl at the finish, letting “Charley Reefer” emerge from silence with a transitional keyboard line at the start soon joined by a guitar line reminiscent in its warmth of Colour Haze, and gradually easing its way into the verse riff. There’s some shuffle to “Charley Reefer,” as noted, and it shares a commonality of method with “Darkworld” in its verses and choruses, but at 7:38, it brings the two sides of Spiral Fires together and jams out from about minute-four onward, first building to a fervent wash and then drawing back to quiet and relatively minimal stretching.

All the pieces are still there — guitar, bass, drums, effects/synth — but the tension dissipates and Geezer draw down “Charley Reefer” with a live-feeling psychedelic devolution that ends cold sure enough but along the way serves as no less a reminder of the command the three-piece wield over their sound at this point. Even Markota in making his first appearance is able to bring a softer touch on drums to correspond with that finish, and it’s no less a satisfying moment than Geezer at their heaviest earlier in the track or back on side A for “Spiral Fires Part 1.” The question with an EP is always how indicative it might be of future output, and I don’t know to say for sure, but Spiral Fires fits in the line of their overarching development, and when it’s done, there’s little question left as to whether or not it’s the farthest outward they’ve yet pushed. As a fan of the band, I only want them to keep going.

Geezer, Spiral Fires (2019)

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