Microwave – 'Much Love'

2016’s Much Love by Microwave remains a prominent part of my record collection, not only for its beautiful distortion and thoughtful riffs, but for the stories it tells and the imagery created.

Formed in Atlanta, Georgia in 2012, Microwave comprises friends Nathan Hardy (lead vocalist), Timothy Pittard (drums), bassist Tyler Hill and the now estranged guitarist Wesley Swanson. Signed to Sideonedummy, Microwave are working hard to ‘make it’ on a small indie label with the right resources at their fingertips. Singles and EPs have been sporadically released along with two albums and an EP collaboration with Head North; however, their commitment to touring with Creeper and The Dangerous Summer have disappointingly thwarted any plan for the production of new material.

After partaking in a missionary trip, Nathan found inspiration to begin works on the 2014 debut album Stovall. His experience of different cultures, viewing the world from various angles and his subsequent withdrawal from the Mormon Church sparking even more imagination for his music. His lyrical style is cynical yet humorous, with a touch of hopelessness — maybe this is why these albums work well for me. Although, Much Love was the album I fell for first. I had it on repeat for weeks, purchased the vinyl, saw them live and subsequently bombarded my friends chatting about how much I loved the album. Hence why I wanted to write this article…

"Roaches" is a slow approach into the album, but ‘sets the scene’ for the listener with its lulling pace. Its lyrics are strange but intriguing, presenting the protagonist as somewhat lonely, with a lot of time on their hands. Perhaps someone who hasn’t quite grasped adulthood with their “clammy fingers”. The way the song plods along with a crescendo into the instrumental allows you to climb on-board for the duration of the album.

The lead single follows with exciting riffs and hooks that will energise you as the pace increases. Cleverly, this song acts as a conversation between the singer and himself. Nathan is a quite frank poet, weaving metaphors through a monologue of thoughts. Calling himself the “nemesis of fun” and battling with Ikea furniture proves the hopelessness that is a running theme throughout the album. Depressive humour has been sewn into the seams throughout every train of thought that lies beneath well-structured, fluent songs. I love the energy in this song and how its contrasted well in varying dynamics; by the end of the song, haunting “ohs” are sang softly over noise and delicate picking, whereas during the verses there’s an almost cheery pace set by the drums against the gloomy lyrics and killer guitar solo.

With bluesy undertones, "Dull" introduces an acoustic guitar which came as some surprise considering the heavier element of "Stovall." It’s a great example of how Microwave weren’t willing to only remain within that ‘post-hardcore’ bracket — branching out into different areas gave this album what it needed. Although it may not be popular opinion, "Dull" is one of my favourites from the album. The vocal delivery is sweet, giving an essence of downhearted romanticism joined with soft harmony in the chorus accompanied by impressive guitar parts. The riff responding to the vocal in the verse instantly has you hooked, with the guitar solo enticing you to play air guitar in your bedroom. They pulled it off — this song charms me into listening over and over again.

"Neighbors" follows this with an almost ‘take the piss’ attitude. Again, we are joined by “oohs” in the background and a frank conversation with Nathan. But as the song progresses, a groove is given that simultaneously makes you nod your head. Then in comes the poet. The most apparent line to me is:

“I am just a crooked joke with a stale punchline that some old friends quote.”

This is him reflecting on himself, his life — perhaps alluding to his relationship with the Mormon Church and how that changed — and youth. His “old friends” now laugh at his unconventional lifestyle, overrun by emotion while holding onto the thread that is adulthood. Being sung accompanied by minimal instruments, the listener realises the isolation the protagonist feels, bringing the self-deprecation to a new level — particularly with the desperate vocal delivery and is reflected again on the same melody line in the second chorus.

“I’ll be on the centerfold as a poster child… with a caption about being broke and disappointing everyone I know.”

Somehow it feels like a rejoice. Although melancholic, it’s almost as though it’s being shrugged off saying it’s okay to be in that kind of situation — this song picks you up and hugs you, especially when it kicks into full swing. Another one to sing loud in your bedroom.

Next, is one of the top songs on the album. "Busy" is heavier… it's original Microwave and it’s a banger. That’s the only to describe it. Its blend of soft and screamed vocals allows this song to aluminate and take the high ground. As I have previously discussed, the vocal delivery throughout this album is what pulls me in the most and "Busy" is the best example of this. Its lyricism is relatable, witty, hopeless and attached to a sweeter melody. It’s memorable and impassioned as the pace increases with the second verse. The drums move along as the guitar chugs, responding to each vocal line with a mesmerising riff. The chorus wraps its arms around you before colliding with heavy emotions and a fighting power as the screaming vocals join us again. The dingy, gravelly tones are impeccable — especially after the more light-hearted "Neighbors" and the twisted "Drown" that follows…

“You’re scared to death. I can smell your sweat.”

There’s something about this line that really stands out. It’s the melody that’s sang with it — the gentle, higher register. Waving off the fear and sadness as though it’s something everybody is stuck with. It sinks into a romantic but irritated list of frustrations, causing me to take comfort in its reality. This is matter of fact but wonderful. I feel there is room for some harmony in this song; I can imagine it being shouted, standing away from the microphone adding emotion that this song lacks. The structure of ‘Drown’ is also one to note. It’s rather refreshing not to hear the clichéd ‘verse, chorus’ and to have the main section towards the end of the song with repetition of twisted, dark lyrics taking height over the tom based drum pattern. The carry through to "Vomit" is the most satisfying thing about the album’s structure. The crushed, distant drums move closer in the sound field as the song skips onwards.

To hear that first chord of "Vomit" would raise a smile on anyone’s face. It’s sweet and inviting — contrasting with the vulgar and candid lyrics. Countermelodies played by the guitar create a perfect marriage with the tender, toned vocal that caresses the first verse so feverishly. Although this may seem timid, it’s beautiful and once the song crescendos into its climax, the crash back down is one of the most emotionally nourishing things you will ever hear. This song holds so much depth and sentiment and to me, that is special. The guitar intensifies as it repeats its octave interval before the drums come in and smack you in the chest. I adore the way the drums change pattern too; you can either jump along to this, or close your eyes and feel every movement, riff and chord. The distortion is on point, not too noisy but unclean making room for the awaited screams that pull this entire track together. It’s tangible, you can feel it on your skin… smell the vomit. Once again, it crashes into this lope motion that carries you along, out of this track and into "Whimper," another bluesy number.

A beautifully dark tale told through dynamics and drudging guitars. "Whimper"’s slow pace keeps us waiting for yet again, another hit, reducing down to just a guitar ready to blow you away with the abundance of drums and distortion — where all the emotion lies. It contrasts so nicely with the delicate ‘ohs’ that graced us before. The passion and desperation within the vocals and instruments, is transported into us as listeners. It is incredible.

"Homebody" transitions from the dark, into a tale of living alone and feeling useless. Again, Nathan spiels about things that may seem wrong in his life, discussing his holey jeans and an “empty wallet.” Although these seem like lazy lyrics, they work well enwrapping all that is futility in depression. It captures something relatable to many people. His situation is imaginable but I feel a sense of delight in the melody and stride of the song.

“The air is thick as shit down here in Georgia.”

is prominent as he begins to discuss his hometown. Relating this to the bleak lyrics encapsulates the idea that life there is only a downfall to his mood. Also, the interval between ‘the’ and ‘air’ is effective because of its anacrusis. The lack of instruments in this line alone portrays the loneliness that he feels and is trying to mask. Perhaps he is questioning his pathways? Maybe this relates to his association with the Church? Either way, this song is a great reflection of youth and the transition into adulthood.

The final track to Much Love is the perfect outro to this emotive album. I particularly enjoy the detail in the production. “Bleach” and “I” both have a reverb on them that allows the line to emerge with a lasting effect. It warms the heart… admitting to being ‘wrong’ may sound like giving up, but it’s also loving and forgiving. Introducing electronic drums works well in allowing the album to simmer down and fade away.

A sigh of relief or a yawn of exhaustion? Whichever you decide, it’s time to switch off the record-player and contemplate life.