Review: S/T - Duster
By Luke Robinson
Oh Duster. One of my favorite bands. A band that pioneered slowcore unlike any other, one that can find itself more dreamy than My Bloody Valentine, and one that can be more distant and despondent than any Grouper album. After catching their NYC reunion show in 2018, I left more than impressed. It was one of the best musical experiences I’ve endured, despite the fact that I ate the world’s hottest curry in a food challenge (Carolina Reapers, kid) and threw up scolding hot chunks into the Duff’s bathroom an hour before their set. That show left me excited for where the band would head next, and with their new self-titled LP, the results are in.
The album opens with “Copernicus Crater.” The song comes crashing through the gate with overdriven descending chord progressions that give way to a terrible alarm clock ringing note that keeps repeating for way too long. I’m left simultaneously annoyed and bored. Despite this, the clean production is a saving grace. While it’s still warm and lo-fi sounding like Stratosphere, the fidelity has better clarity and a modern edge to propel Duster in to the 2010s. To my surprise, the song picks the fuck up, finally reaching a second riff that grips the listener in. Not only am I stoked that this ambulance siren of a riff is over, but I am floored by how fucking beautiful this riff is, brilliantly layered with a fuzzy warmth. The entrancing, dirty harmonics and sailing melodies make me feel like I’m going urinate uncontrollably and for some reason, I’m into it.
The second song “I’m Lost” picks up where Duster’s last album, Contemporary Movement, began. They’re eerily similar in tone, but sadly the chord progression and tune is not gripping or dreamy, which is exactly what you want Duster to excel at. Thankfully, this album really starts to hit its stride with the impeccable third song, “Chocolate And Mint.” The melancholy of this track is infectious, with strung out chords painting a canvas of twinkling, miserable stars. This is truly Duster at their best, as the brilliant dynamics increase tension and lead to release towards the end section. This is further complimented by the sharp drumming, flying with fills and deep, roomy production to match. The vocals are gorgeous and distant, sounding sharper than any previous Duster song.
The midpoint stride keeps going with “Summer Wars.” It contains plummeting low notes, adding an extra heaviness to its calming melody. The vocals sound more clear and on pitch that ever before - homeboys definitely learned how to use that diaphragm! “Lomo” presents itself as an album highlight, and a must listen for any fan of Kid A-era Radiohead. The stripped yet loaded acoustic chord progression is incredibly gorgeous and perfectly written, presenting itself as a treat to listen to and a new venture for Duster in terms of aesthetic and music choice. When the last delay synth notes hit, I’m in utter ecstasy. This is Frippertronics-esque playing in a fucking slowcore song.
“Damaged,” while a nice vibe, is rather unremarkable and forgettable; if anything, it’s a decent segue in the track listing of the album. “Letting Go” was my most anticipated song to hear on record, as it destroyed me live and has long been a crowd favorite for the band’s recent run of shows. Sadly, the somber and beautiful song is ruined by its goofy, mosquito buzz of a synth. It is understandable that Duster are trying to spice up their songwriting with new sound play (in order to not fall victim to “pointless reunion” itis), but this is a clear example of it backfiring. “Go Back,” a jarring but lovely ambient piece, is definitely one of the strongest segues I’ve heard from the band, as its fuzzy noise suffocates you in a cacophonous way.
“Hoya Paranoia” is yet another highlight with its amazing use of blank space, strong vocal lines, and incredibly engaging high-up bass lines that are insanely melodic. The song picks up the experimentalism in the back end, as light and jazzy single notes, psychedelic warping synths, and tremeloed guitars propel Duster into new territory. This very well may be Duster’s attempt at jamming and it really pays off. “Ghoulish” sadly reads as a retread, echoing “Chocolate And Mint” in both sound and tone. However, the mid-section that hits heavy extended ninth chords is as engaging as it is furious.
Throughout the album, Duster experiments with strange effects that hover and tinker in the background. I do wish they were more fuzzed out or saturated, such as on career-defining song “Echo, Bravo.” However, they offer a new angle for Duster to progress their sound with. As on all their previous albums, it’s the mellow album ending that Duster annihilates, as “The Thirteen” encompasses the experimentation present on this album with tremeloed guitars and hair raising harmonies. Ultimately, Duster is a welcome addition to the band’s catalogue, advancing their trademark slowcore to a new decade with some definite flaws and faults.
BOPS: “Chocolate And Mint,” “Lomo,” “Hoya Paranoia”
DUDS: “Copernicus Crater,” “Letting Go”
