Holopaw - Quit +/ or Fight

Holopaw
Quit +/or Fight
Sub Pop Records
Grade: A-

Pushing aside their self-titled 2003 debut, Gainesville’s Holopaw craft folksy Americana currents into modern singer-songwriter styles with electronic enhancements on Quit +/or Fight. Past touring with labelmates Iron & Wine and Fruit Bats, among others, provides the parameters of Holopaw’s sound. For the most part, the eleven tracks here exist somewhere between light guitars and pedal steel of Jeff Hays’ and the electronics of Michael Johnson – yet, the indie pop wins more of the races and electronics only set the background. Besides from this core instrumental duo, Holopaw is vocally fronted and constructed by John Orth (also of Ugly Casanova) whose potential range is vast, but he mostly keeps it within a defined space. Besides from several guests on Quit +/or Fight, the band is filled out by Tom Reno, Tobi Echevarria and Ryan Gensemer.

The record opens on “Losing Light” where the listener is introduce to the mid-tempo folksy pop that will continue throughout the next ten songs. “3-Shy-Cubs” probably has the widest collection of instruments on Quit, most clearly including handclaps and electronics – and stands out as one of the best. Electronics underlie and propel the more ethereal “Curious,” while “Holiday” brings us back to the singer-songwriter rock. “Velveteen (all is bright.)” is one of the more withdrawn numbers where Orth moves along with light synths and drums, and as it builds to a full band you realize this is one of the better tracks on Quit. “Clearing” may be slapped for being overly faux rock, but it serves its purpose as a contrast number. Now these first six songs are nearly all the same length. Yet, by Holopaw slightly shifting constructions and ambiences, it is impossible to confuse one for another. This is a difficult task that is seemingly easy pulled off by Holopaw. Too many albums sound the same when the songs are all the same length and too many bands try to have different songs simply for the purpose of sounding different and wind up sounding too purposeful. Anyway, “Shaver” follows “Clearing” and the tempo is picked up but the drop pace breakdown comes off a bit abrupt. “Needle In the Sway” starts with high note guitars with effects that come across like something on Temporary Residence before Orth’s aching vocals lead you through the strong lyrics. “Found (Quit +/or Fight)” is the shortest and is like an Americanized Belle and Sebastian that is actually quite nice. For some strange reason Holopaw doesn’t include the lyrics to “Found (Quit +/or Fight)” and references their website for them; there most be a background to story to this. Similar to the strong use of electronics setting the stage in “Curious,” “Ghosties” opens with a wall of haunting chorals before it fades to become another solid rock number. The chorals come back to underlie the refrain of “all the little ghosties” and help lead the way to the finish. Quit +/or Fight closes with “Shiver Me,” where Orth is more fragile while being pushed by quick-fingered acoustic guitars. Although “Shiver Me” is delicate, it parallels to light Shins and Simon & Garfunkel forces you to hit repeat from time to time.

Although not currently at the top of Sub Pop’s heavy hitters, Quit +/or Fight is surely to place Holopaw on the top rung on everyone’s favorite indie label. It is only a matter of time before Holopaw is on the tip of everyone’s tongues and people connect Holopaw to Gainesville instead of Hot Water Music. A well-placed song or two on film soundtracks could help in this progression.