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When they decided that the drums on "Anna" felt metronomic, not free or tumbling enough, Smith just sat down at the kit and played a new drum part-voila, now the song had the exact sloppy, headlong precision they desired. "What he did went way beyond mixing," Naidus said. Smith took the little flames these songs made and spread their glow wide enough to light a field. For mixing, Massage sent the songs to Jed Smith, an indie-pop auteur and lo-fi genius whose talent for recreating pretty much any conceivable songwriting or production era alone in his bedroom is the stuff of underground legend. The band recorded Still Life with Lewis Pesacov (Fool’s Gold, Foreign Born, Peel’d), testing and teasing out new sounds at his intimate backyard studio in Echo Park. "At the end of the world/Where were you?" he wonders on "At the End or the World," a simple, affecting plea for pure companionship and love as structures large and small crumble outside. "I got half a feeling/you're not the one who's really alive," Naidus sings on first single "Half A Feeling," while overdriven guitar churns up dirt clouds and the do, do-do, POW drumbeat sends the song racing towards sunset. The lyrics are downcast, empathetic, and quiet, little sketched portraits of evanescent feelings. From Naidus' velvet-lined JAMC tribute "Half A Feeling" to Ferrer's Let It Be-era Replacements-tinged lament "The Double" to Romano's "In Gray & Blue," these are gold-standard indie-pop gems from emerging masters of the form. The result is the finest batch of songs they've ever produced. I got jealous, so I immediately wrote 'In Gray & Blue.’" I thought it was the best thing he'd ever written. "When Alex sent me 'Made of Moods,' I was blown away. The songs brought out competition, even if Romano teases Naidus for denying it. Romano, Naidus, and Ferrer split the songwriting duties, sending each other demos by email, an arrangement that grew permanent when quarantine hit. While the songs on Oh Boy were often written on the spot, in practice rooms, Still Life was more deliberate. Still Life resurrects a brief, romantic moment in the late-'80s, right after post-punk and immediately before alt-rock, when it seemed like any scrappy indie band might stumble across a hit.
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These 12 deft songs are full of late-summer sunlight and deep shadows, pained grins and shared jokes, shy declarations of love and quietly nursed heartbreak.
Still, on their sophomore effort, Still Life, they manage to take a quantum leap forward in songwriting, production, and depth, all somehow without seeming to try. Indie pop, jangle pop, power pop-whatever you call it, pushing too hard scares the spirit right out of this sweet, diffident music, and Massage have a touch so light the songs seem to form spontaneously, like wry smiles. Take a little "There She Goes" by the La's, some "If You Need Someone" by the Field Mice the honey-drizzled guitars from The Cure's "Friday I'm In Love", a Jesus & Mary Chain backbeat, and you're almost all the way there.
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The kind of music Massage makes - sunny, bittersweet, tender - is less a proper genre than a minor zip code nested within guitar pop. Mtn., Tear Jerk and Bobo Integral Records.
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