Review Summary: Broken clocks, April showers.
Fooling Around is right where it belongs; the latest EP from David West (Rat Columns’ brainchild) is well-suited to the eclectic Blackest Ever Black roster, bearing a sound that, while not totally bizarre, is just a little bit
off. Other recent-ish releases from the label include Prurient’s
Through The Window (2013) and Raspberry Bulbs’
Privacy (2014), both of which warped their influences, changing the context and leaving listeners a bit unsure of what to make of them. Rat Columns’ brand of lo-fi/post-punk/indie rock is self-aware in its lack of firm direction, as the title suggests. West sings with a sort of half-hearted optimism that dips in and out of dour reality, motivated by summery guitar rhythms and fellow Aussie Mikey Young (of Total Control)'s synths.
The title track hits the ground running, resembling someone who chases without purpose. West apathetically sings, “
Well, I guess we’re just fooling around / that’s all you can do when you’re stuck on the ground,” over a chunky bass line and power pop-y guitar work. The beachy instrumentals along with West’s leery approach give the EP a mildly sarcastic tone;
Fooling Around feels like an introvert’s forced fun. “Waiting In The New World” picks up the tempo with an infectious, dancey guitar/ukulele combo alongside pitchy-yet-charming vocals; it's sunshine pop for bedroom sad bois. Standout “Strays” is the most realistic representation of Rat Column’s M.O.; whereas the first two tracks felt spontaneous and not-quite-convincingly cheery, “Strays” builds up its courage. For much of the EP, West’s vocals are a blessing and a curse, but his sluggish delivery fits the jangly melodies beautifully. As the track shapeshifts, the curtains open, letting light pour in. Finally, closer “Should I Leave You Alone?” begins with choppy tape loops and sedated bass, but yields to cascading, harp-like guitar melodies and lyrics teetering between creepy fascination and boyish charm.
Fooling Around is difficult to sum up in any sort of allegorical sense, and it probably doesn’t matter. It admittedly lacks ambition; but, it boasts both variety and cohesion. The lo-fi production suits the groggy atmosphere and West’s lyrical nonchalance, while the catchy instruments keep up momentum. All told,
Fooling Around, like much of Blackest Ever Black’s output, won’t draw a large crowd. It’s probably for the better; Rat Columns come from an insular headspace, where those who stay are those who truly belong.
