While change is often as good as a rest for some bands, there are others who find a sound that works for them and stick with. Two polar opposite examples could be Sonic Youth and Dinosaur Jr. Both bands come from a similar scene, yet have a vastly different approach to writing. Sonic Youth would create an entirely new sound on each record, but you still knew who it was, whereas Dinosaur Jr. continue to make consistently great records, but rarely veer from THAT sound. Ann Arbor quartet, Pity Sex, fall somewhere in between the two of these iconic bands, but have more in common with the latter on their second album, âWhite Hot Moonâ.
Much like their 2013 breakthrough album, âFeast Of Loveâ, you sort of know what to expect from âWhite Hot Moonâ. Rather than take a leap into uncharted territory, Pity Sex have simply stuck to what they know. The melancholic, lovelorn lyrics that have been charming their audience are present and correct. Warm, fuzzy guitars, interspersed with saccharine breaks are still there, and the inviting dual vocal of Brennan Greaves and Britty Drake is as potent as ever.
What saves âWhite Hot Moonâ from being too predictable, is the song writing. If the infectious âBurden Youâ didnât have depth, or âBonhomieâ wasnât so perfectly crafted, it would make the album forgettable. Thankfully that isnât the case here at all. It is probably the reason that Pity Sex decided to keep to their chosen path, because quite frankly, they are damn good at it.
In the past, Pity Sex have been mistakenly labelled as âshoegazeâ, yet certain elements, such as tremolo picking, and white-washing simple chord progressions with reverb and delay, have been utilised in the best way. Their tight rhythm section provides a solid backbone for the bright melodies of âOrange and Redâ, while dream-pop hooks shimmer underneath Drakeâs hazy vocal, as she takes the lead on âDandelionâ.
While at no point does âWhite Hot Moonâ become a vehicle for raw urgency, or build into cascading walls of noise, it doesnât really need to. The up tempo, driving riffs of âWhat Might Soothe You?â, and the bright power-pop of âWappen Beggarsâ provide enough dissonance in their own right.
With Pity Sex carrying on the tradition set by their previous releases, it leads to âWhite Hot Moonâ being immediate, and instantly engaging. Somewhat like meeting up with an old friend or lover for the first time in a few years; you know what they are like, you know their personality, and they have a familiar warmth. If you are already smitten with Pity Sex, then âWhite Hot Moonâ will only further your love for them.
GLEN BUSHELL