White Lung – “Paradise”

Grade: A-

Key Tracks: “Below,” “Kiss Me When I Bleed”

There’s two meanings to the word “raw.” On White Lung’s previous album, “Deep Fantasy,” they explored a hardcore sound that roared ferociously, even for hardcore punk, ripping through 10 songs in 22 minutes. Their new album smoothes things out a bit (although not much, it’s 10 songs through 28 minutes). There is a lot more emotional rawness on the album – the band is focused less on speed and volume and more on wearing themselves thin on tape.

White Lung are following in a trend set by previous releases by Perfect Pussy and Savages, in which very loud and angry bands are not shying away from their sudden success and are instead using their new standpoints in their music. Tellingly, Meredith Graves and Jhenny Beth opened their arms to love. Mish Barber-Way? Serial killers. And trailers. But also love. In between albums, she wed, and a post-wedding blissfulness permeates the album. At times, unfortunately, the band sounds like they’re pushing the volume only because they’re White Lung and that’s what is expected. Most of the time, however, this theme of emotional and physical rawness comes across effectively.

“Deep Fantasy” is one of my favorite albums – in the past two years I’ve spun it more than almost any other album. But if there’s any criticism I could level at it, it’s that it feels a little too polished at times. Surprising, given Kenneth William’s utterly shrieking guitar. The band operates at 11 and sound like they’re about to go off the rails at all moments. But still, they could use for a little more emotion in their music. It comes through here. On “Demented,” William trades in his wailing guitar for a straight-forward, pounding and unexpected one-chord riff. Anne-Marie Vassiliou sounds immediately more forceful on the drums, on opener “Dead Weight,” and one multiple songs throughout. And Mish Barber-Way strains herself on nearly every song. I found their first single, “Hungry,” underwhelming, but man her voice propels the song. She brings carnage to “Kiss Me When I Bleed” and adds tension to ballad “Below.” She dominates the album in the way that she dominated “In Your Home,” the closer to “Deep Fantasy.”

Lyrically, too, this album has a certain rawness to it that doesn’t jibe with the rawness of “Deep Fantasy.” One of that album’s best songs, “I Believe You,” was an extremely direct message to rape culture. That directness exists here, too, but instead of a punishing rawness, it’s an emotional one. Barber-Way investigates her fears and wonders about marrying a Southern man: “I will give birth in a trailer / Huffing the gas in the air / Baby is born in molasses / Like I would even care” she sings on “Kiss Me When I Bleed.” On “I Beg You,” “This is the death of me / I need a fantasy.” Between the rapid drumming, relentless guitar exploration and strained vocals, White Lung push themselves to a maximum that they’ve never explored. It doesn’t always pay off, some tracks like “Narcoleptic” and “Hungry” suffer from a tempo that’s too fast to be slow and too slow to be White Lung. Exploring their space might not always be their thing. Then again, they strip everything away and let sheer tension run “Below.” This is a personal and bleeding album, one that addresses the successes and failures of being a touring band, sudden notoriety, and life in general. It isn’t necessarily hardcore punk, but then again, White Lung never truly adapted the title. They never adapted any title. And it’s not like this album isn’t gonna rip your face off most of the time anyways. It’s raw, it’s passionate, it’s emotional, it’s loud, it’s destructive and most importantly, it’s White Lung.

-By Andrew McNally

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White Lung – “Deep Fantasy”

Grade: A

Key Tracks: “Drown With the Monster” “I Believe You”

In a world where punk is an ever-increasing and subjective term, we’re seeing more and more bands stretch the limits of the genre – the Waxahatachees and Andrew Jackson Jihads take a more acoustic-driven approach, and the Menzingers and the Modern Baseballs opt for deft poetry instead of angst. So it’s almost surprising to hear a band like White Lung, a well-oiled machine of anger and energy. They have a ferocity normally reserved for hardcore, and indeed, their music tends to hover towards hardcore and thrash metal, but it stays distinctly punk. Their excellent third album, 10 songs and 22 minutes, is a sweaty and kinetic burst that never once lets up.

White Lung aren’t changing anything on “Deep Fantasy.” This album isn’t an increase in power – they’ve always been as intense as they are here. But it’s still impressive. All ten songs on “Deep Fantasy” are at a non-stop, ferocious volume, as if they don’t know anything except that. White Lung have the ability to make a song that’s 2:26 feel long. The music is no frills – no drum fills, no theatrics, no breakdowns, no intros, no outros. Just volume. And yet, it doesn’t quite align with punk or metal. If they were to rely more on chords – which I’m glad they don’t – they’d veer into thrash metal. But the verses are usually marked by guitarist Kenneth William’s shearing, high-pitched rhythms, adding a shrieking element that isn’t metal at all.

Mish Way’s vocals dominate the album. She inverts some typical vocal structures by letting her voice fly high over the verses and taking a backseat, sometimes in a deeper pitch, during the choruses. Her voice is more stable on this time around, actually sounding intentionally conventional at most times. It creates a weird disparity – there’s clear, common vocals centered around a mass of volatile, unstable music. Her voice, at least on this record, actually resembles that of Debbie Harry’s, and the result is the album that Blondie always sounded like they wanted to experiment with, but never did.

To refer to a band, especially a punk band, as “female-fronted” in 2014 is ineffectual and stupidly ignorant, but for “Deep Fantasy,” it’s important to point out the album’s feminism. With blinding punk like this, you’d expect angry lyrics, whether personal, political, etc. And sometimes that’s the case – the repeated line “the water looks good on you” on “Drown With the Monster” speaks volumes. But some of the songs are poignant and rational. The album’s most intense track, the 1:42 blast “I Believe You,” is in response to sexual assault. Elsewhere, Way sings about other issues that society has laid on women – eating disorders, sexual fantasies and body image. To present rational and balanced lyrics in an otherwise aggressive setting brings home the importance of what Way presents – forcefully saying we need to address these issues in a safe manner.

White Lung only does one thing, and they do it extremely well. At 22 minutes, the album is a chugging engine that never gets repetitive or tired. It just keeps going, until you’re starting to break a sweat, and ending before the actual pain comes. Years ago, White Lung turned their instruments all the way up, and they haven’t adjusted them since. “Deep Fantasy” is an aural assault, and one of the best punk albums of the year. The band is a driving force in punk, and “Deep Fantasy” establishes them as a deafening group to watch out for.

If you like this try: an obvious comparison is equally feminist group Perfect Pussy, but they include effective moments of silence and feedback as major song points, that White Lung instead totally eschews. So, a better comparison might be noise-punk group So Stressed’s album “Attracted to Open Mouths.”

-By Andrew McNally