DADDY'S BEEMER: "JOAN"

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      Up and coming slack rock band Daddy’s Beemer released “Joan” earlier this week. “Joan” is the second offering since the Clemson band’s self titled EP released this May. The band’s first project explored issues of early life like identity, belonging, and the highs and lows of working towards both. Tracks like “Numb,” “Laced,” and “TV Lied To Me” deal with substance abuse and depression while “Gremlin” and “Penthesilea” speak on failing relationships (the latter of which does so through a cleverly integrated parrot eulogy).  Lyrics like “I want nothing more than the same reaction” shows the band working towards stability and self-fulfillment. The guitar riffs of Waldrop and Sklar live high in the sonic registry, reverberating over each track with meticulously layered effects and filters. Fetterolf and Heaton show their tenured history via studied chemistry in the rhythm section, and Sklar soars confidently on airy vocal performances.

       Since the EP release, the group has worked with the other members of their collective, The Pablo Generation, to create The Pablo Sampler, Vol. 1, which came out Oct 10th of this year. The collective also includes Wallpaper, JS Terry, Apricot Blush, Tom Angst, and Prozac Dreams. The bands have stayed busy the last couple of months touring together and releasing a steady stream of new material. Daddy’s Beemer’s contribution to the compilation comes in the form of “Terry’s Song,” a four-minute daydream that sounds like it could have found its way onto the band’s first EP.

       “Joan” returns to the best features of the EP and “Terry’s Song” while also showing new influences and capabilities. The track’s infectious chorus drives through a brisk three and a half minutes and makes it the band’s most head-nod-worthy. The most notable addition as compared to the band’s previous work is Fetterolf’s piercing violin hook that accompanies the chorus. Paired with Waldrop’s echoing guitar sound that has become the band’s calling card, the strings mirror the internal conflicts around which the track centers. Sklar positions the listener as a fly on his bedroom wall as he sits besides his sleeping significant other and considers a “future so damn real.” In addition to being one of his most vivid lyrical outings, Sklar’s vocal performance is one of his most challenging as he moves from tender, drawn verses into a double tracked chorus high in his vocal range. Overall, the track is exciting and shows promise that Daddy’s Beemer can build on their first EP.

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NATHAN WHITTLE