Saying that a band has a “unique” sound is one of the most arbitrary musical descriptions possible. Not much music sounds particularly unique when the Internet exposes us to massive amounts of accessible music each day. With that said, Merchandise is one of the most unique bands making music today.
Merchandise’s roots lie in Tampa, Florida’s DIY punk scene. Four years ago, they released their self-titled EP, a collection of punk jams with some major Dinosaur Jr. and Wipers influences. From there, they transformed into post-punk melodramatics/Smiths worshippers and released the frantic (Strange Songs) In The Dark in 2010 and last year’s enchanting Children of Desire.
What you hear on Totale Nite, Merchandise’s latest EP, is an entirely different band. They’ve grown up, they’ve said screw punk-rock and they’ve started to make experimental epics for the brooding capital-R Romantics of the world. The album uses its sheer length (the five songs span 33 minutes) to prove that Merchandise is not constrained by anything. They’re post-punk, noise, shoegaze, country, jazz and everything in between. Totale Nite is a collage of lengthy and disparate songs connected by one philosophy: individualism. Play whatever music you want, whether it’s hardcore or jazz. Think whatever you want, whether it’s I love you or I hate you.
Hazy harmonicas permeate opening track “Who Are You?” It’s a complete turn from anything they’ve put out, their version of psychedelic blues track. Carson Cox’s vocals, a resonating baritone croon, soar above the noise. The lyrics sound hopeful (“Today the sun rose/Like the hand of God”), but the layers of swampy sound are foreboding and suffocating.
Suddenly, you can breathe, if only for a few seconds. The first single off the album, “Anxiety’s Door,” is simultaneously expansive and jittery, with arena-ready guitars contrasting with industrial drum machine beats. For the final two minutes, the only words you hear are “you’re the only one now” as every instrument slowly stops. It feels like the album’s mantra.
“I’ll Be Gone” is a spacey soundtrack to a 1980s prom night, with noisy, twinkling guitars and smooth saxophone that would make Steely Dan fall to their knees. It’s downright beautiful, albeit pretty cheesy, until Cox delivers one of his most resonating lines: “I’m gonna plant myself in the sun/Just to be free from all you motherfuckers.” It frames the album as a celebration of the self, moving away from all who restrain.
“Totale Nite” is a mess in the best way possible. The fact that the band designated this as the title track is extremely telling. It blends dissonant horns, the loudest guitars on the album, booming drums and accusatory lyrics into nine minutes and 20 seconds of pure genre-bending chaos.
Totale Nite’s final track “Winter’s Dream” returns to the balladry of “I’ll Be Gone” but softens it even more. Cox’s vocals are restrained and turned down, letting the arena-ready drums and harmonious guitar take the lead as he sings about killing a former version of himself, letting his true spirit move forward. However, as the soft, shimmering instruments fade, the last 30 seconds of the song transform into screeching feedbacked noise. It’s Merchandise showing that even their ballads aren’t restrained to one sound.
However, in the end, Totale Nite is more than just a termination of genres. It’s a termination of the world around you. After all, as Cox says, you’re the only one now.
Grade: A-
