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The Mercers’ new release, Giant (Victim), marks the second consecutive solid seven song cycle in less than 12 months for one of Austin’s best kept secrets. Recorded at the same time as 2009’s Hovercraft, Giant was shrewdly kept under wraps for a few months as the band prepared for its release. Rather than force 14 songs onto one mixed up full length album, The Mercers appear to have wisely saved the 7 more mellow songs for Hovercraft’s subsequent follow-up EP. And, for the most part, this dual attack works pretty well.
The Mercers’ pop perfect blend of The Who, The Shins, and Guided By Voices continues on Giant. But while Hovercraft landed more towards The Who and Guided By Voices, Giant stomps firmly on The Shins end of the aforementioned spectrum. From the get-go, Peter Wagner’s voice sounds like a less nasally James Mercer and the band’s playing leaves wide-open spaces for him to soar. On EP opener “Laredo”, the sparse arrangement and twisted vocal tracking slips effortlessly into Brian Rhode’s guest trumpet playing. There’s not a misplaced note in the jangling guitars and reverb washed vocals ambiguously lamenting Wagner’s fears. Had “Laredo” wound up on Hovercraft, it might have been a welcome respite from the rest of the EP; On Giant, it serves as an amazing introduction to the other side of the band.
Whether or not The Mercers really intended the release of back-to-back EPs, recorded at the same time, to showcase two different juxtaposed dimensions of the band is unknown. But, that’s exactly what’s happened here. Following “Laredo”, the band never quite reaches the arena rock glory of Hovercraft, instead opting to play songs better suited for late nights after the bars have closed. On “Abattoir”, Wagner asks “Is it worth a hammer to the heart?” reaffirming the dark celebration occurring across the entirety of Giant. In the past, The Mercers – and particularly Wagner’s vocals – have provided the great indie rock soundtrack for an Austin sunrise; here, especially on the finale “Val Value”, the sun is slipping behind the horizon. The Mercers’ songs of loss, regret, and hope could be written to you, about you, or for you.
All in all, Giant isn’t quite as shockingly good as Hovercraft, but if the songs, the mood, and everything else had been equal across all 14 songs then we wouldn’t have had to wait until 2010 to hear the second half these sessions, right? Nonetheless, Giant is a wonderful glimpse into The Mercers’ darker, quieter leanings. Taken together, or shuffled into a mix featuring the best 10 or so songs, The Mercers have continued to chart an under-recognized and under-appreciated path through the Austin indie rock scene with both EP releases. As the band uses Giant to kick off their new subscription series, where fans will be able to get individual new songs as they are completed (instead of having to wait for new EPs), everyone will be able to hear The Mercers’ continued growth and exploration over the coming months. And that’s giant.
Websites:
www.themercers.com
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