Album Review: Double Jointer by Golden Triangle

At first look, Double Jointer, debut album from Brooklyn sextet, Golden Triangle, looks like some college design course collaboration between Roger Dean and Master P. A psychedelic Photoshop collage that’s charmingly odd and amateurish, it seems almost the hallucinogenic fantasy conjured by a techie gen addiction to HD. How much would it speak of our current technological fascination if even our subconscious, influenced largely by this fascination, led us to trip in high definition? You don’t get more clarity than real life clarity.

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Golden Triangle is an all-girl group who deal in lo-fi garage rock, but let’s hold off on piling them in with the likes of Vivian Girls, or with any other quick trend for that matter. Because while Golden Triangle may line up with what’s popular in indie rock these days, what they’re doing on Double Jointer is something worth noticing, and holding onto long after and trend has passed. Yes, these songs echo and hiss with low fidelity, but the girls don’t use that to leave the songs awash in a haze of dulled chords.

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Though their recorded output is still pretty limited, Brooklyn's Golden Triangle have been kicking around for a while now. I first saw the group in summer 2008 as the opening act on a night Deerhunter debuted a lot of Microcastle material. That performance-- and Golden Triangle's chaotic stage presence-- stuck with me for some reason. I mentally tagged them as "psychotic B-52's" and followed along as they played a ton of other shows, many in Brooklyn warehouses, and put out a self-titled EP on Mexican Summer last year.

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For their debut on the Sub Pop subsidiary Hardly Art, Brooklyn-based Golden Triangle strike a clear pose halfway between post-punk and garage punk stomp, with some serious psychedelic fuzz thrown in to keep things loose. Released in 2010, Double Jointer follows the band's 2009 self-titled EP on Mexican Summer (also a subsidiary, strangely enough, of another larger indie label, Kemado), and is an energetic and accessible album that ably hits all the necessary signposts needed to construct a hip, underground rock record for the 2000s. The intertwining vocals of singers Carly Rabalais and Vashti Windish guide the band and, taking from the playbook of seemingly every album released by a female-fronted band between 2007 and 2010, are completely awash in reverb.

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There’s something unusual about Golden Triangle’s mix of influences. It’s lo-fi, but it’s not. It’s 60s girl-group rock, but not quite. It’s got some of the “wall of sound” flavor to it without ever getting the amps to 11. Jesus & Mary Chain? Clinic? New Pornographers? If it sounds ….

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