Dag för Dag – Boo

January 01, 1970

(Ceremony Recordings)

www.ceremonyrecordings.com

 

Released in Europe in 2009, the debut
from this Swedish brother-and-sister duo – not in the Meg and Jack sense, but
actual siblings – is finally getting its well-deserved North American release.
Though some of the band’s rawer moments tilt garage rock, Sarah and Jacob
Snavely have more in common – at least aesthetically – with the Kills, another
male/female duo whose slinky songs bristle with lust and fury while they
navigate the line between them.

 

 “I Am the Assassin” and “Hands
and Knees” deliver a fantastic one-two punch of dominance and submission at the
front of the disc. On the former, over a tumult of descending guitar lines and a
nerve-wracking beat, Sarah makes it clear that she is no “cat in a tree” to be rescued
and cared for, but a feral predator; the latter thrums along with enough “on my
hands and knees” fuck-heat to raise the room temperature several degrees while a
guitar-and-drums duel puts the climax in climactic.

 

But Boo‘s pleasures derive
as much from the rich textures employed (with help from Richard Swift) as the
heat the duo can generate (musically speaking, pervert). Swathed in organ
layers, rumbling toms and clash cymbal-supernovas, and paced like an opiate dream,
“Wouldn’t You” sound likes And Then
Nothing Turned Itself Inside Out
-era Yo La Tengo (until Jacob starts
wailing over them); “Seven Stories” first drifts through random noise and
guitar fuzz, picking up pace on the back of a marching snare until it bursts
into thick guitar riffs that eventually loop over each other as Sarah sings of
“your love in my veins.”

 

Unfortunately, brother Jacob’s vocal contributions do more harm than
good. It’s partly that Sarah’s voice is clearly the duo’s best vehicle, and
partly that Jacob winds up hijacking songs with awkward phrases. On the pulsing
“Silence,” for instance, his affected chants of “Silence is the verb, silence
is the word” over tambourine whip-lashes quickly morphs into an annoying,
repetitive earwig you’d pay to have removed; the same unfortunate formula is
found on “You’re Light On Your Feet,” only this time it’s the song title-mantra
that nearly sinks the otherwise slinky setting and pace. Oddly, on the rare
times they reverse roles – such as when Sarah soars over Jacob’s rapid-fire
patter on the disc’s most garage rock track, “Animal” – the pairing works much
better.

 

Still, there’s much here to recommend, and if the siblings can work
out a few kinks (i.e., removing Jacob’s mic), they could quickly take their
place among the elite duos.

 

DOWNLOAD: “Hands and
Knees” “Came In Like a Knife” JOHN SCHACHT

 

Leave a Reply