Music for Driving and Film, vol II received a nice write-up from the NYC blog, Lucid Culture. Thanks, it’s nice when someone listens.
The Brooklyn-based composer/guitarist who goes by the name of Reverend Screaming Fingers writes movies for the ears. He’s got a collection of elegant, memorable instrumentals, simply titled Music for Driving and Film up at his site for free download. Smart move – it’s going to get him some film work. Like a good demo reel, it showcases his diversity as a tunesmith, yet the quality of the pieces here is vastly better than most demos. As a whole, it makes a great late-night album. The twangy reverb guitar gives many of these tunes a noir feel; others reach for a distantly menacing spaghetti western ambience. Most of them have a straight-up guitar/bass/drums setup, often with organ. Many of these works stem from the composer’s work with the west coast film/music group the Overdub Club.
The opening track, Highway Song sets the stage with baritone guitar and organ – it’s like Booker T. gone to Kansas. The most haunting cut here, Sort It Out has a slow, sunbaked menace, sort of a spaghetti western set in Riyadh. The guitar meanders ominously and then hits a chilly, bone-rattling tremolo-picked interlude – it’s as psychedelic as it is creepy. Repeat Performance is a two-chord vamp that rises and falls hypnotically, followed by East Meets West, an atmospheric tone poem a la Friends of Dean Martinez, building to a motoring beat that contrasts with the hazy sonics. OD Loop continues in a similarly southwestern gothic vein: it’s the scene where the band of thugs make their way across the desert. Suki O’Kane on drums does a marvelous job of hanging back and not letting the whole gang break loose.
Taking its name from an adopted manatee, Boomer’s Groove has a twangy, nocturnal Jim Campilongo/Mojo Mancini vibe, following a deliciously suspenseful trajectory that hits a sweetly apprehensive peak as the bass shifts just a little higher and the guitars all follow. Caterina begins as a simple two-chord vamp dedicated to a little girl who died young, building to a tense grandeur with casual tremolo-picked melody sailing beneath the roar and crash, finally reaching a scream with umpteen layers of guitar roaring in their separate corners. There’s also a couple of brief vignettes: one with Jonathan Segel on violin pairing off against Laurie Amat’s stately Middle Eastern inflected vocalese, and Through the Portal, a surreal party scene employing Rebecca Seeman’s eerie, upper-register swirls on her own invention, the wine glass organ. The album ends with a static, hypnotic piece that sounds like Stereolab doing an extended version of the intro to Blue Jay Way. Recommended for fans of Giant Sand, Big Lazy, Mogwai and Black Heart Procession.
You can check out the album at iTunes or below from Bandcamp.