EP Review :: Doggone - No Brow

Doggone

No Brow

July 26 2013 (self release)

8/10


Words: Dave Beech


Very little is known about London's Doggone; deriving their name from a Frank Black track, the four-piece, comprised of members, Josh, Pete, Mary and Billy, are making music that is a dreamy blend of lo-fi aesthetics, reverb-soaked vocals and caustic undercurrents that hark back to the shoegaze bands of the 80s and 90s. Despite only being together for a short space of time, the musical understanding, and the professionalism exhibited by Doggone exceeds any expectations.

First track, and most recent addition to the Doggone repertoire, 'Hot Fuzz' sets the bar impressively high and immediately suggests a verbosity in Josh Esaw's penmanship that matches that of the musicianship asserted by his band-mates. Conversely to the other tracks on the EP 'Hot Fuzz' is a lot more musically ambitious than the tracks it precedes, that isn't to say that 'Lilith' and 'Romance' are of a lesser quality, it's just that the extra time spent on the composition of the former really shines through.

The influence taken from that of Frank Black and indeed The Pixies is evident across the course of all three tracks; the whole record has been drenched in lo-fi appreciation and as a result sounds equally as nostalgic as it does contemporary. In particular, a short solo in 'Hot Fuzz' is particularly indicative of the chaotic and often overpowering walls of noise so common in a lo-fi movement whereas 'Lilith', on the other-hand, will appeal to fans of the current 80s revival, a clean and understated guitar matches the vocal melody throughout the verse while the chorus is perhaps the most commercially viable facet of the band on record.

'No Brow' concludes with 'Romance' a song drenched in underproduction and sees Esaw's vocals take on a Brian Molko-esque drawl throughout the verses before taking on a lighter note during the chorus. There's very little in the way of the lyrics here, at least compared with that of 'Hot Fuzz', but that only allows the band to further their musical ambition and indeed integrity, proving that the lo-fi production, is, of course, a purely aesthetic decision and not, in fact, one that stems from poor production. It's an aesthetic decision that works in the bands favour though, and one that allows them to give a nod those bands in the past from which they've taken influence, whilst managing to maintain a degree of the contemporary integral to their survival as a band.

With so many bands opting to favour their synths over their guitars, it's refreshing (and truth be told, relieving) to find a band who can embrace the use of synthesisers without ever relying on them to form the backbone of their output. Not only that, but the way the band builds on foundations laid out decades previous, and still manage to sound fresh and even adventurous, is something that all prospective musicians should take note from. It's all well and good wearing your influences on your sleeve, but when they begin to appropriate and bleed through in to your music, taking the place of originality, it's time to cut your losses. Thankfully that's something that Doggone don't suffer from and I, for one, can't wait to watch them grow and mature as a band.