Record Review: Clark Blomquist's Wonderful Late-Night Listening Session as Tegucigalpan | Record Review | Indy Week
Pin It

Record Review: Clark Blomquist's Wonderful Late-Night Listening Session as Tegucigalpan 

When the fourteen tracks of The Fifth of She, the beguiling and bewildering debut cassette of Clark Blomquist as Tegucigalpan, spool to an end, you may feel like you've made a new friend. More specifically, it may seem that you've sat in Blomquist's living room late at night, a drink in hand, and asked Blomquist to play his favorite records for you. Before dawn, the selections skip from iterative techno to high-flying metal, from narcotized dirges to subdued pop experimentalism, from ambient hum to scorching psych. Bleary-eyed, you leave confused but delighted, your mind imagining connective threads that may or may not exist.

Blomquist might already be familiar from his work in several top-caliber area acts. He was a staple of the formidably graceful The Kingsbury Manx and, until recently, the howling second guitarist of Spider Bags. In the duo Waumiss, he helped make delightful messes of melodies and electronics.

Still, the sheer variety and level of accomplishment on The Fifth of She is surprising, like a thoughtful gift in the mail when it's not even your birthday. The record's first half crisscrosses the hard rock spectrum, each song refracted through Blomquist's other loves. "Goldy, Consumes All Things" is outlandish thrash metal, like Voivod scoring a brain-baked road trip through the Southwest. "WURGG" sounds like the work of a tough-guy, roadhouse Southern rock band stuck without gravity in outer space. Blomquist's voice floats over Built to Spill-like college rock during the invigorating "A Device," a song that sports a guitar harmony so sharp you may want it to last forever, as though it's reelin' in the years.

But nine minutes of blown-out, drugged-up acoustic blues serve as the unlikely transition into the record's equally unlikely second half, a curving trail through sample-based bedlam. Blomquist spins sheets of noise and mangled voices beneath the hard-hitting "She Said No" but sings soft, celestial lines above the stuttering clip of "Petunia, I will make you tall." He alternately summons Panda Bear's Beach Boys love and serrated industrial noise.

When the slowly disintegrating signal of closer "Rechazo En Ambas" finally dies, you rub your ears and eyes, as if the living-room listening session has ended, wondering what exactly you've just heard. So much, really.


Subscribe to this thread:

Add a comment

INDY Week publishes all kinds of comments, but we don't publish everything.

  • Comments that are not contributing to the conversation will be removed.
  • Comments that include ad hominem attacks will also be removed.
  • Please do not copy and paste the full text of a press release.

Permitted HTML:
  • To create paragraphs in your comment, type <p> at the start of a paragraph and </p> at the end of each paragraph.
  • To create bold text, type <b>bolded text</b> (please note the closing tag, </b>).
  • To create italicized text, type <i>italicized text</i> (please note the closing tag, </i>).
  • Proper web addresses will automatically become links.

Latest in Record Review

Twitter Activity

Most Recent Comments

Love it! All the songs are beautiful!

by Jon Champion on Record Review: The Return of The Veldt, The Shocking Fuzz of Your Electric Fur: The Drake Equation, Is Great (Record Review)

This release will be available Friday December 4th here:

Thanks! …

by Scott Phillips on Review: The electronic excellence of GNØER's Tethers Down (Record Review)

You should have let Currin write this. One of the best singers on earth and these were your observations? sounds …

by Remo on Record review: Jeanne Jolly's A Place to Run (Record Review)


© 2017 Indy Week • 201 W. Main St., Suite 101, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
RSS Feeds | Powered by Foundation