It’s been three years since Blood and Glass burst out with their evocative debut album—three years that have seen the quartet plunge headfirst into their musical experiments to return with Punk Shadows.
Where Museum With No Walls dabbled with experimentation, Punk Shadows is nothing but. New Orleans jazz bands cross paths with 70s ballads as lead Lisa Moore wends her way through an enigmatic performance that defies genre. Shrieks and howls on the wildly addictive “Hop the Fence” burst out, turning the song into an album unto itself, only to be followed by the whispered “Chlorine Dreams.”
There’s a dirty punk on tracks like “Whiskey,” where Moore plays with tradition as she sings, “I drink whiskey when I can/ I drink whiskey like a man” in raspy, whiskey-burnt voice. It takes on a whole new meaning when the band reveals the song was “written for the guy in the Pink Floyd tee shirt sitting alone at the bar.”
Just as easily Moore springs into a falsetto to close out a song, demurs in the solemn “Submarine,” or pitches and bends her voice in yet more new ways as she shifts through the songs—each one a punk track in it’s own right—while the band grabs from an eclectic mix of influences.
It’s not just Moore showing off a stunning chameleonic ability, as band mates Morgan Moore, Robbie Kuster and Melanie Belair imitate orchestras, mimic Moore’s yelps with the help of a trombone, or buzz and spin into a track as unexpectedly poppy as the dark “Nowheresville.”
There’s something new in every single track—and easily a dozen directions the band could go in that would make for essential listening. Each song leaves you hankering for more, even as the seemingly endless ability to change proves to be just as compelling. In fact, it’s hard to say which would be the more satisfying choice—a dilemma that thankfully leaves the way wide open to see what Blood and Glass will deliver next.
Top Tracks: “Whiskey”; “Hop the Fence”
Rating: Proud Hoot (Really Good) + *swoop*