THE WHIGS- In The Dark Review

THE WHIGS

In The Dark

ATO

 

The Whigs have been on a slow, steady climb towards national stardom for four years now, ever since Rolling Stone named the Athens-based band one of “10 Artists To Watch” in the wake of their independently released 2005 debut, Give ‘Em All A Big Fat Lip. Within a year they had been signed to Dave Matthews’ ATO label, and by 2008’s Mission Control the band had become more confident in their blend of classic garage rock and more modern alt-rock influences.

 

After replacing original bassist Hank Sullivant (who joined MGMT) with Tim Deaux, the band embarked on a series of memorable late night talk show performances and high-profile tours. Returning home a much tighter trio, the group began writing and recording their third album in Athens with producer Ben Allen (Animal Collective). The result, In The Dark, represents another big step forward in The Whigs’ artistic evolution.

 

The first difference you’ll notice is an increased focus on the rhythm section of Deaux and Julian Dorio. According to frontman Parker Gispert, nine of these 11 songs began as drum and bass grooves, with Gispert’s guitar and vocal melodies woven in around them. The result is a tighter, more propulsive sound, with the opening “Hundred/Million” rollicking along for 54 seconds before the first guitar riff comes crashing in like a tidal wave and takes the track to a whole ‘nother level. When the guitar stands front and center on a song like “Kill Me Carolyne,” it recalls the Replacements and R.E.M., establishing The Whigs as heirs to that college-rock throne.

 

In The Dark is not a perfect album, but it is a very good one, suggesting the band may soon be headlining the same big venues where they supported Kings of Leon and Drive-By Truckers not too long ago. –BRET LOVE

(originally appeared in Georgia Music Magazine)