Swarming guitar fuzz, bass waves, Jana Hunter’s voice, and insistent drum throbs are the core components of Baltimore’s Lower Dens. Hunter, sometimes known for intimate, ghost-heavy weird-fi, is now writing and playing with a group that might get filed as new wave, or drone pop, or post-punk.
The band’s upcoming record, Twin-Hand Movement, is “eleven perfect songs long”. From opener ‘Blue & Silver’ (anxiety mounts at a quick clip until the final climactic release) to ‘Plastic & Powder’ (a churning, narcotic slow-burner) to ‘Hospice Gates’ (penultimate album cut, proud weirdo anthem, possible creative zenith), not one is a space-taker. They’re rife with the survivalist paranoia you’d expect from residents of a post-urban port hole (and this particular songwriter), crafted methodically and beautifully, and carry you enthusiastically out into the rolling breaks of industrial filth-water.