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Album Review: Phern – cool coma

a2678303782_10The brand-new release from Phern, a supergroup composed of underground darlings from the Montreal indie scene, proves once again that the city is a both a breeding ground and a blank canvas for creative ventures big and small. Phern, which consists of members from Moss Lime, Soft Cone, and Sheer Agony (to name a few), has quietly written and produced the tiny EP Pause Clope and a tightly spiraling LP cool coma within the 514 city limits. The group could be dismissed as another cute local band if not for the fact that its members have already weathered the city’s saturated music scene, and thus have been able to create an album that adeptly straddles a label of jangle-pop and experimentalism.

The sound is not unlike The Microphones or early Grizzly Bear at times, and influences of Sheer Agony’s Masterpiece are sprinkled here and there. Within cool coma there exist jangle-pop earworms such as “I Sold The House” and “Pebble,” and a couple Phil Evrum-esque tracks appear in “Flipper Twister” and “Hospital Garden.” The album is presented in the order in which the songs were written and recorded; an honest, casual, stripped-down approach to presenting music. No track on cool coma reaches past the three-minute mark, providing short bursts of tart rhythms and staccato, syncopated beats. Hélène Barbier’s soft drone provides an anchor for the loose drums and wandering, chaotic guitar and synth.

“I Sold The House,” the first track on Pause Clope, starts with the sound of jaunty snares and a liquid electric guitar. It’s a catchy number, and Barbiere’s vocals here are less abrasive here than on other tracks, providing a soft, catchy introduction to Phern. “Excavator,” the first track on cool coma, has a psychedelic element. With fuzzy vocals and slow, fluid layering, the entire track appears to be soaked in sepia. “Pebble” provides a nice walking track to the tune of jangly electric guitar and expert syncopation. Barbiere’s vocals provide a physical and lyrical dissonance to the instrumentals, which are quite reminiscent of Sheer Agony.

“Real Nice Chair” features a lovely bass guitar intro before the electric guitar interrupts without warning; Barbiere’s voice then slinks in and proceeds to hover just below the instrumentals for the remainder of the track. “Crosswalk Talk” features more bass guitar solos and a hypnotic chorus, which repeats “I would recommend that you don’t cross here.” It is at once robotic and evocative, with Barbiere’s high monotone serving as a warning sign.

cool coma simultaneously keeps you on your toes and lulls you into a sense of complacency. The instrumentals come in fits and starts, with heavy syncopation and time signature change, but the overarching sound is very similar throughout the album. There is a gentle abrasiveness to cool coma, with many tracks affecting an endearing subtle dissonance; Phern knows what they are doing, and they do it well. 

Album released: November 25, 2016 (Pause Clope was released October 14, 2016)

review by Juliana Van Amsterdam