Music // Reviews
Please use the embed to the right to hear our latest album, or head over to our bandcamp to hear our discography.
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They are the cuts on your ankle from jumping fences running from cops and they are the whistle of the train cutting through winter nights. drunken laughs and howling from the 3rd story fire escape. the water rushing down the sink drain carrying hair from a bad 3 am haircut 19 April 2014
Whether they’re hollering like goons on “God’s Work” or almost-serenading in “Devil in the Moonlight,” Mallory provides a good point for grounding yourself in an attempt to understand the genre in its recent local manifestations. The group reflects many of the aforementioned defining qualities: anarchist tendencies, the staple DIY aesthetic and functionality, a certain franticness of music and message. Notably, Mallory evolved with the genre itself. There was no initial connection to the scene; rather, their early “acoustic anarchist folk music,” as retrospectively dubbed by Longhaul, “placed an emphasis on lyricism, harmony and cohesiveness.” Portability was key, as many Mallory tours were by bicycle. As members of the group came to identify as anarchists (some more so than others), a transition to punk energy was matched by a reflective shift in the shows’ spirit. As energy and music became more and more frantic, Mallory struggled to keep up with itself. The band was a quarter-stick of dynamite: a caricature of its own urgency.