For an outfit who probably got their name after a disgruntled trip to their local car garage, it’s not startling that there is an almost mechanical sound to Parts & Labor’s fourth album Receivers. From the bagpipe-esque opening keyboard strains of -Satellites’, manipulation of equipment and sound is the name of the game as this Brooklyn four-piece weld their succulent brand of experimental noise-rock with a chastening flood of pop flashes.
Since predecessor Mapmaker, there have been changes aplenty in the P&L camp; rambunctious sticksman Christopher Weingarten left the fold, with the more restrained Joe Wong coming in, while Sarah Lipstate is now officially on the team-sheet on guitar duties, joining founders Dan Friel and BJ Warshaw, who tag-team vocal duties throughout.
The personnel switches have had an effect. Receivers is the sound of a band immersed in wildly focused synchronicity. Nothing is getting left on the floor here: from the bubbling tension of early post-punk in the wailing of -Mount Misery’ to the Dan Deacon-if-he-was-an-artrocker spurt that is -Nowhere’s Nigh’, all the bells and whistles are fully intact.
Equal parts catchy and experimental, Receivers is a twisty affair that keeps you gripped by its unpredictability. Heck, it even sounds anthemic at times, and in the likes of -Little Ones’, they may have just recorded the tracks that will not just earn them the critical clams of peers like TVOTR, but open up the wider public to them too.