Hear me out on this one: the cover of Keep It in the Dark, the debut full-length album by Champaign-Urbana rock band Motes, is a perfect visual depiction of the songs contained within. The black bars look like levels, in how they rise and fall. They also recall Black Flag’s iconic logo. It’s the ebb and flow of sonic waves, but also the sheer emotion of punk rock. These are the two faces of Motes: they’re cool and contemplated at times, but can switch at the drop of a hat to a furious tsunami crash.
The album’s quieter moments sound like twee. Sophisticated, soft, understated melodies take over, and Matt Mitchell’s low croon with Elizabeth Majerus’ breathy coo remind me a bit of Beat Happening, or Devandra Banhart’s dreaminess on the album’s poppier tracks, like the first single “Freeway.” It’s like a lullaby you’d play for a baby that’s going to grow up to really appreciate Slowdive.
However, the best parts of the album are when Motes open the floodgates and shred. The washes of guitar distortion, heavy, grungy straight-out-the-90s shoegaze on tracks like the penultimate one, “Should” really take the listener on a trip—the kind of song you listen to loud, or else there’s no point. “Should” is the album’s meatiest track as well, clocking in at 5:20. Other such tracks like “Great Lake” solidify Motes’ place on the forefront of Midwestern shoegaze.
It is also worth mentioning the production on Keep It in the Dark is fantastic. Done locally at Earth Analog by Heirship Records’ Isaac Arms and Colin Althaus, the mix is so good, it’s hard to imagine the band is but a three-piece. Everything blends and no flavor is too overpowering.
Motes have a clear knack for finding that groove that sounds just familiar enough to catch your attention, but can put a unique spin on their songs keeping them from sounding too derivative of any of their influences.
Listen to an exclusive advance stream of Keep It in the Dark below, and check out the band’s Record Release Party at Mike N Molly’s on Saturday with Withershins and Blue Unit.