Boomkat Product Review:
Right in time for summer, Flanger Magazine’s evocations of rustic Americana settle sweet on the mind with their debut for the reliably romantic Students of Decay.
Under totally classic cover art by Robert Beatty, the Louisville, KY band double their album tally after core member Christopher Bush’s solo debut ‘Breslin’ in 2015, bringing in new blood Anna Krippenstapel (Frekons (Freakwater + Mekons), The Other Years), Jim Marlowe (Equipment Pointed Ankh, Tropical Trash, Sapat), Eric Lanham and Benjamin Zoeller (both from Caboladies) for a much plusher, if still rustically scoped new combo. Hashed with shades of Fahey-esque Delta blues, Cajun folk, free jazz skronk and psychedelic electronics, they enact a richly dusky sound that combines all the above with a sublime effortlessness and patented, seductive sense of freedom that lends itself to laid-back times.
Subtly meandering between natural world and synthetic inspirations, they elegantly combine traditions of folk, electronic and chamber-like experimentation that, at times, lends itself to comparison with lolling classics as much as David Behrman’s automated classical experiments, breezing between the pastoral thizz of ‘Reservoir’ and widescreen frolics of ‘Fantasy for Windown Mountain Moon’ via masterful elisions of field recording and animated strings in ‘Falls Fountain Removed’, to the cusp of over-easy folk and electronic experimentation on ‘Interior, Olmsted’ and a smart confection of blues jazz folk resonating with Six Organs of Admittance in ’Sympathies for the Rover’.