Medicine – Weekend and Leverage Models
Eighteen years after they called it quits as a working band, 2013 finds the original members of Medicine reunited and proudly offering a newly recorded LP on Captured Tracks. “To The Happy Few” is the sound of a highly inspired group reclaiming its creative legacy, thoroughly immersed in the practice of mixing harsh noise with obsessive melodic detail and heavily groovy rocking. Returning is the core trio of lead singer/ chanteuse Beth Thompson, guitarist / vocalist Brad Laner, and drummer Jim Goodall, the same team which created the still vital, influential and controversial LPs “Shot Forth Self Living” (1992) , “The Buried Life” (1993) and “Her Highness” (1995) as well as a stand-out appearance in the 1994 film “The Crow”.
Weekend and Leverage Models:
As it happens, it’s really all the fault of Captured Tracks. In 2012 C/T pulled off the seemingly impossible and secured the rights to reissue the aforementioned two original Medicine LPs in loving and expanded fashion. This was a rather emotional moment for the original band members. So much so that upon meeting up at Brad’s home studio in May 2012 for the first time since 1995 in order to divide up the vinyl goodies and ultra-limited box sets, the trio laid down the basic track for what became the final song on the new LP. Emboldened by the natural ease with which they slipped back into Medicine mode, the trio spent the remainder of the year leisurely recording the new LP and enjoying each other’s company far removed from the stress and turmoil of their original early 90?s run. The resulting LP is not your parent’s Shoegaze record. The sonic palette and the hands, feet and mouths that utilize it may be the same, but the end result more subtly reflects the amassed life experiences and refined aesthetics of three mature artists only just now approaching the peak of their powers.
Within a grainy film-still between a summer sunset and the end of times lies the post-punk squall of Weekend. Weekend filter the aggression, tempo and sneer of punk through a wall of reverb, haunting melody, feedback and primitive garage guitar. Formed in San Francisco in late 2009 by three childhood friends, the band have quickly developed a totally distinctive take on the history of post-punk noise rock. Some touchstones along the way include the chaotic psychedelic noise of groups like Skullflower and Terminal Cheesecake, the bad vibes power-drone of “Feed Me With Your Kiss”-era MBV and No Age, and the scything racket of post-No Wave noise bands DUSTdevils and Sonic Youth.
Where many bands who share similar influences are content to bludgeon the listener with noise, Weekend pay special attention to texture and atmosphere, and leaven even the most riotous moments with unexpected shards of melody. Weekend have instinctively staked out a unique sonic territory where feedback guitars, crunching riffs and pounding rhythms are harnessed in the service of, rather than in opposition to, their haunting tunes. Says singer Shaun Durkan: “Our goal has always been to balance the abrasive qualities of punk and noise with something more introspective and vulnerable. Creating that simultaneous push and pull. Like the beauty of an oil fire.”
They’re rapidly developing a reputation for their stunning live shows, and gigs with bands like Japandroids, A Place To Bury Strangers, Little Girls and SF compatriots Young Prisms are drawing crowds of ever-increasing size and devotion. So far they have two ecstatically-received and now sold-out releases: a fantastic 10″ single on Mexican Summer and a split single with Young Prisms on the excellent UK label Transparent. Their debut double-LP “Sports” will be released November 9, 2010 on Slumberland Records.
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