Warpaint - Heads Up - 2016 Indie Rock Dream Pop 2 LP
Warpaint – Heads Up
Rough Trade – RTRADLP780
2 × Vinyl, LP, Album, Gatefold
23 Sep 2016
Indie Pop, Indie Rock
A1 White Out 4:42
A2 By Your Side 4:32
A3 New Song 4:16
B1 The Stall 4:55
B2 So Good 5:59
B3 Don't Wanna 3:42
C1 Don't Let Go 4:22
C2 Dre 3:58
C3 Heads Up 4:57
D1 Above Control 5:05
D2 Today Dear 4:49
Phonographic Copyright (p) – Rough Trade
Copyright (c) – Rough Trade
Published By – Beggars Music Ltd
Recorded At – House On The Hill, Downtown Los Angeles, CA
Recorded At – Papap's Palace
Mixed At – Subtle McNugget
Mastered At – Marcussen Mastering
Pressed By – Optimal Media GmbH – BG39305
Design [Back Cover Design By] – H. Hawkline, Ken Life
Engineer – Ivan Wayman
Mastered By – Stephen Marcussen
Mixed By – Shawn Everett
Performer, Producer – Warpaint
Photography By – Mia Kirby
Producer, Mixed By, Engineer, Synthesizer [Additional Synthesizers], Programmed By [Additional] – Jake Bercovici*
Includes digital download card.
" reverb-heavy harmonies wafting over driving rhythms while guitars, sometimes cleanly picked and other times warped into a shoegazey distortion, swim in and out of the mix. It’s a style Warpaint have been honing since their debut, but Heads Up is the first time this psychic interplay has been stretched out over an entire album.
Even the smallest detail of each song becomes integral to the overall structure. Subtle, blink and you miss it moments are what makes Heads Up such an addicting listen: the horror film piano that transitions “By Your Side” into its last chorus, a short ambient synth wash in “So Good”, the moment “The Stall” briefly switches into a bout of jazzy electric piano flourishes wrapped around guitar funk. None of it is immediately obvious, but repeated listens are rewarded. It’s a deeply satisfying album to listen to with a good set of headphones, the clean production in line with electronic acts like Floating Points and bass-heavy hip-hop.
Take, for instance, the slow burn of “Dre”. Their homage to the iconic producer bares subtle yet telling nods to his production work: woozy guitar lines are a dreamy version of the plucks on “The Next Episode”, and pairing it with a thumping 808-style bass makes it sound more like a trip-hop remix of Dre’s California G-funk.
The stretch of songs beginning with “Don’t Let Go” and ending with “Above Control” is absolutely enthralling, the record continuously evolving into unusual shapes. Both “Don’t Let Go” and the title track start out as a softer ballads. The former features Mozgawa’s compressed-to-hell drums coming booming in a quarter of the way through, while the latter moves between a number of odd rhythms before a crash landing, Mozgawa and Lindberg skidding to a halt in perfect unison. Meanwhile, “Above Control” is a relentless and impenetrable groove that, even after five minutes, ends way too soon."