Gringo Records – 15th December 2023
Christopher Nosnibor
By way of a name, Reciprocate doesn’t give much away. With its connotations of collectivism and collaboration, it could be anything from limp indie to a jazz ensemble, although to my ears, it suggests ska-punk or some other corny right-on festival friendly guff. But no: they’re an avant-rock trio, and something of a supergroup when it comes to representatives of the UK DIY scene, consisting of Stef Kett (Shield Your Eyes), with drummer Henri Grimes (Shield Your Eyes, Big Lad), and Marion Andrau (The Wharves, Underground Railroad) on bass, and the name, it transpires, is a reflection of the synergy between the three, promising ‘intoxicating, super catchy good-time, big heart music – a human album delivering a human message of love and love lost.’
The blurbage goes on to outline how Soul To Burn proceeds at a cadence all of its own, halting and blasting, ducking and weaving, zooming away from its distant cousins: Taste era Rory Gallagher or Mr Zoot Horn Rollo of Beefheart’s Magic Band, leathering it at full throttle, fuelled by virtuosic back beats that remind of somewhere between the rolling rock of Mitch Mitchell and the fractured noisebeat of Lightning Bolt’s Brian Chippendale: immediate, innovative, virtuosic, exhilarating.
The album’s ten songs are concise and precise, with ninety percent keeping below the four minute mark, and it’s perhaps this focus which really makes Soul to Burn pop. ‘Sleevetugger’ is pretty minimal, and has soulful, bluesy vibe with even a dash of county twanged into the mix – but it’s played with a wonkiness worthy of Pavement, and that absolutely changes everything. They amp it up on the groovesome ‘Rhodia’, where a riff that comes on like a Led Zep lift is delivered with a rough and ready noise-rock approach.
For context, my first exposure to live music was electric blues acts playing in pubs in my home town of Lincoln, at the tail end of the 80s and very dawn of the 90s. While I was just starting to discover alternative music – via the top 40 and also Melody Maker – I was still that bit too young to go to ‘proper’ gigs, and besides, there weren’t (m)any in Lincoln back then. But what struck me was the musicianship of so many of the acts, many of which would play a mix of originals and covers, and I also came to appreciate how everything blues-based springs from an extremely limited root stock. ‘Derivative’ isn’t really a criticism that holds any water. But, to make blues rock work, it has to either the executed extremely well, or otherwise fuck with the formula in some way, and bring something different to the party. Either is really, really hard to do in such an immense field. The last decade or so has seen countless acts achieve success with some pretty mediocre blues rock played loud: I began to think I was bored of blues. But then an album like Soul To Burn turns up unexpectedly, doing it with a real punk attitude, and turns everything around.
Whereas many power trios – not to mention duos, who are the power trio of the post-millennium years – go all-out to fill every inch of space with sound, Reciprocate create space and separation. Everything isn’t blasting to the max, and instead, what we get is a rare level of detail. The bending strings, the fret buzz, the rattle of the snare, the ragged imperfections – they’re all there, and are integral to the fabric of the recordings.
They do melody and groove, and it’s enjoyable, but when they wander off track, as they do most spectacularly towards the end of ‘Pissed Hymn’ there’s something truly glorious about it. The title track is ahead-on collision between Shellac-like mathiness and raucous, rabble-rousing folk. Everything gets twisted and knotted up, the template gets tangled and torn, and it’s unpredictable and exciting.
And it’s got a cat on the cover. 10/10
AA
Aural Aggravation 