Heavy, droning alternative rock
There are loads of bands that ache for a rebirth. Some bands are disappointed with their old sounds, perhaps transformation through member changes, or maybe a mutually hated band name among members. Apetka was one such band. Debuting their sound way back in 2011 with Gargoyle Days, the band took off with comparisons to bands such as Dinosaur Jr. and The Smashing Pumpkins, though the latter may be because both Apetka and The Smashing Pumpkins hail from Chicago. Comparisons are bound to be made.
Apetka made a name change around 2014 to Pink Frost, right when they released their second album Sunbathing. The second release was lauded by music reviewers across the board and parts of it even showcased on television and film, including “CSI: Miami, The Vampire Diaries,” and the film The Lookalike. And now, due to the sudden name change, the group has decided to consolidate all of their releases under the name, which includes Gargoyle Days, their first recorded release.
Gargoyle Days was so well-received by critics when it came out, mostly because the band already seemed to have developed and matured into a sound that still carries with them to this day. The sudden re-release of Gargoyle Days was also made to demonstrate how the band sounds in a live setting in addition to the name change. With bright guitars flaring throughout the album, chaotic snare-centered rhythms, and the grungy high vocals of Adam Lukas, Pink Frost capture a type of rock we only hear faint traces of these days.
The sound that encompasses the band is eerily similar to some early 90s Smashing Pumpkins (minus Billy Corgan’s soaring leads), especially with high gained treble guitars and Lukas’s ripping, elevated vocal register to carry the message. The music is droning, often heavy and unwavering to softness, though when a soft break happens it is highly enjoyable.
Some songs are relaxed and more ambient in style and they tend to stick out. For instance, “This Time” sticks on the slow, beaten path. The gain is turned down, quiet picking ensues throughout as the rhythm section jaunts through. It ends with a whirring sound that bleeds into the next track, the upbeat “Voices.” Back to their signature droning heaviness, the song is characterized by a highly delayed or reverbed guitar lead that fades in and out as the background guitar moves almost like the sound of a broken television of white and black particles bursting on the screen. It’s surprisingly relaxing if listened at a lower volume.
Sometimes lyrics get lost in the mix as Lukas’ voice is so buried by the noise and chaos, but also because his vocals seem drenched in some sort of effect. It sounds almost like there are two or three vocal tracks at the same time of the same line, akin to Elliot Smith or The Beatles. It definitely adds to the quality of the sound, especially as the album progresses. His voice becomes more of an instrument. His voice dampers to almost a sultry whisper on “Monterey,” as he sings about silence and continuous company from a love interest.
One thing is clear – the band loves to play. It might sound like a moot point because bands will not typically play if they do not enjoy it, but the re-release of this album makes it a point to demonstrate the quality and potential the band has for a live show. The music is absolutely entertaining, it mirrors a time in music we have lost due to the cultural changes and musical transformations of the past few decades and we remember why we liked it so much. The band sounds new, but familiar, which is never a bad thing.
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