Alex G - Trick (Album Review)

 

Alex G - Trick

(2013)


My copy: 2022 reissue with additional 7” by Lucky Number.


Alex Giannascoli’s early musical experiments decorate his bandcamp page as a sort of “hidden” back catalog for those of his fans who only discovered him through one of his more popular releases. Now sitting comfortably on Domino, much has changed since the release of Trick in 2013. Though it is predated by a handful of other albums, Trick is probably the first Alex G record to gain substantial recognition. The record’s sound encapsulates the feeling of growing up in the internet era as it successfully extrapolates on the transitional emo/alternative genres pioneered by Modest Mouse, Built To Spill and Elliott Smith in the 90s. 

“Memory” is lo-fi with acoustic guitar and falsetto lamentations. It stands out for the harsh electronic static that stains the otherwise tender progression. As distortion devours the back half of the song, comparisons could be drawn to the likes of Automine (Animal 

Collective’s early outing as a lo-fi indie-rock band). A dissonant two chord shuffle eases into the sweetest melodies of the whole album on the cutesy “Forever,” which does wonders for the street cred of indie-folk with banjo and saxophone performances that are surprisingly tasteful. Smoky droning guitars bleed on “Animals” which channels 90s indie heavily in its sharp riffing. 

The funky guitar and bass instrumentals on “String” last too long and are made gaudy by hand drums though the irreverent, mocking tone of the chorus help to save the track. “Advice” is a bit generic with a female vocal feature to help it stand out though its impact is heavily lessened up against the whirling euphoric layers of “People.” “Whale” is a simple acoustic ballad with fun tongue-in-cheek lyrics that carry their sinister undertones into the bouncy chords of “Kute.” Giannascoli has a talent for working dry wit into otherwise fizzy pieces of pop music, and he occasionally relents into moody ambient pieces like “Trick,” an instrumental track composed of mystifying keys.

The riffs on “So” skewer blues with goofy light-hearted guitars as the bass takes up the main melody. “Mary” is one of Giannascoli’s more structurally interesting tunes, beginning with sweeping riffs and translucent arpeggios before steadily devolving with noise bursts and added bass dissonance. “Change” collects youthful melancholy in the lyrics, tucking themes of heart ache under blankets of warm guitar. The final track is an instrumental that slightly reprises the melodies of the title track into a jazzier package of piano and bass. 

Three additional songs are collected on a bonus 7”: “Sarah” and “Adam” are twin portraits of confusing teenage love and angst while “16 Mirrors” touches on psych with twisted, pitch shifted vocals that engage in trippy repetition. Giannascoli’s lo-fi flavors here help bolster his attitude, though the songwriting is not quite at its peak yet. There are some by-the-books compositions and vapid moments, but the atmosphere and playfulness set it apart from many of his contemporaries at the time.


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