Alex G - Rules (Album Review)

 

Alex G - Rules

(2013)

My copy: 2019 reissue by Lucky Number.

While Trick more firmly bolstered Alex Giannascoli’s audience, Rules actually released earlier in the same year, showcasing a higher production value and deeper songwriting abilities. This point in Giannascoli’s career saw a mix of differing mid-level record labels competing to put out physical copies of his work, until he finally signed with Domino in 2015. 

“Water” has all the classic Alex G makings, from twinkly arpeggios to well-layered sliding guitar riffs until the track ventures off into a fog of watery vibrato effects, appearing again with a final melodic passage. The sweet acoustic jam of “Come Back” starts out rather loose, and flimsy until Giannascoli throws a haymaker of dense fuzz, erupting into an impressive and anthemic hard rock progression. The chorus drenched atmosphere of “Fighting” puts indie grifters like DeMarco to shame, and may even give early Conan Mockasin a run for his money. Giannascoli is a master of keeping things light; he shows emotion, but the music itself is playful and hard to box in. 

Tense droning chords mull on “Wicked Boy” until Giannascoli’s signature falsetto sends things towards tender indie-folk with bright lead guitar touches. “Candy” smashes blues and dramatic indie-rock mania together into an oddly compelling hodgepodge, though its final moments drone on a bit too long. While Giannascoli often revels in sarcasm and sneering witticisms, he isn't afraid to get emotional on songs like “Mis,” which frame words of teenage heartbreak with beautiful piano ditties and pan-flute synth pads. The tone snaps back drastically with the fiery rock instrumental “Master,” complete with Modest Mouse-y pinch harmonics. 

Near the end, the album begins to lose steam instrumentally. “New” focuses more on Giannascoli’s vibrant lyricism, but leaves the composition a bit behind. “Know Now” is an off-kilter slacker-rock track akin to early Pavement that grows around freaky vocal repetition. Keys march along to the warm indie-folk of “Rules” which indulges in some fun melodies. The closing track borders on alt-country with a roaring guitar that slowly fades away, leaving just acoustic guitar and singing to close out the record. 

Of Giannascoli’s big three pre-Domino album’s Rules feels a touch less consistent. Still, it contains some of his most clever and dynamic writing feats, spanning several moods and styles. Giannascoli’s personality bleeds clearly into his work, giving off a smart-alec sort of charm that fits best on tracks where he experiments most.