Let’s begin 2021 with an ending — particularly, that of Burlington rockers the Pyros. Alas, the band has unceremoniously referred to as it quits. However earlier than totally extinguishing themselves, final week the Pyros left followers with a pair of recent releases: a self-titled LP and a companion album of reside materials, The Basement Tapes.
Entrance particular person and inventive mastermind Steven Yardley is maybe finest identified for his customized “Jammbulance,” a retrofitted classic ambulance turned cell live performance venue, which he operated, pre-pandemic, at small festivals and different reside occasions. In an electronic mail to Seven Days, Yardley sounded wistful but assured within the band’s determination to maneuver on — happily, most of its members will nonetheless be round in different native bands. With a string of quirky music movies and three stable releases underneath their belt, the Pyros have loads to be happy with.
Nonetheless, what’s saddest concerning the band’s demise is its quick tenure. As a result of the Pyros had been solely energetic for 3 years — really simply two, since 2020 did not depend — they did not have fairly sufficient time to determine themselves out. Have been they a nouveau indie-rock outfit? A subversive pastiche of ’60s storage and doo-wop? One thing too eclectic to be pigeonholed? The Pyros‘ seven tracks constantly carry new concepts to the floor, every worthy of additional exploration.
Sluggish-jam opener “Hydroplaning” is a tempered, unflinching music about feeling uncontrolled. The mild interaction between Liz Stafford’s bass and Yardley’s guitar ebbs and flows with grace and precision, solidified by Evan Raine’s dedicated drumming. Beginning the LP in power-save mode offers subsequent cuts better influence.
“King of the Web” interjects stinging jabs of elastic guitar chords atop 8-bit synth and old-school Tremendous Mario Bros. coin-collecting blips. Utilizing dated digital sound results in a music about modern web tradition is deliciously ironic and nods to the simplicity of the e-cultures that got here earlier than the new mess now we have right this moment. The monitor is a daring transfer ahead for the Pyros, a particle-accelerated collision of enviornment rock and electro influences.
Many of the different tracks align extra carefully with the scrappy storage rock of the band’s 2019 Christian Mingle EP. However even in acquainted territory, Yardley and co. discover methods to push the sound ahead. “Swamp Monster” dips a toe in psycho-surf waters, whereas “Tears I Cry (Shoobie Doo Wop)” is a sloppy-on-purpose ditty that sounds prefer it got here from some children too cool to affix their sq. counterparts on the ice cream social and sock hop.
Extra bands ought to take the Pyros’ strategy to chucking up the sponge. The Basement Tapes offers listeners a snapshot of what they had been within the reside setting, however The Pyros encapsulates all that they strove to be.
The Pyros is offered to stream on Spotify.