My first review is fitting, as the whole idea for this website came from me gushing over it to a group of friends. It is the self titled debut from Deep Tunnel Project, featuring my friends John Mohr and Mike Greenlees (known for their work together in both TAR and Blatant Dissent) Tim Midyett (currently also with Mint Mile and known for his time in Silkworm, Bottomless Pit and as a touring member of Sunn O)))) and Jeff Dean whom I do not actually know but met once and seems like a lovely gentleman. Jeff has played in a ton of bands and a quick look at his discogs page tells me that was in the Chicago band “the story so far” that I remember sharing the stage with many times in the early 2000’s playing to fives of tens of people.
The album kicks off with Connector, which opens with Mike playing a heavy ass laid back beat similar to the gold standard, When the Levee Breaks. As the song develops, so many little things start to stand out with every repetition. The snare drum sounds so good. Massive guitars without sounding fake. Like everyone I know that has gotten older, somehow John’s voice has gotten better. The mesh of dour, beautiful guitars over a rock solid rhythm section elicits Jawbox in a relaxed fashion, a way that they could never do it which is insane. Think of how pretty and heavy that is. You end this song knowing that you’re in for something special. Such a ballsy choice to start it off.
As you wade through each solid track, this record hits me like Novelty era Jawbox, an album right next to the Los Crudos/Spitboy split LP completely knocked me on my teenage ass and changed the way I tried to make music. But it’s not like Novelty though. It’s so Chicago, not DC. A better writer could explain. Next album I’m putting out: This is Chicago, Not DC.
Track 5 the Grid hits me hard because while it’s not in any way a reference to the Sirs song, Burlesque it shares a vibe and chord change and it makes me realize how both John and Rob Warmowski could come to the same endpoint separately in a song so proud to worship the city of Chicago. It makes me sad he isn’t here it, but he’s in there. It led me to go back and listen to the first SIRS album that featured the same Mike Greenless on drums (before I took over for him) and marveled at how awesome it was to get to play with those guys on those amazing songs. I took it for granted. What an honor and what a great time, thanks Rob and thanks to Steve for suggesting I take over for Mike when Rob reached out for advice.
Gold Standard has maybe my favorite lyrics of any song I’ve heard in ages. All while another simple single chord jangler for minutes just trusting the melody. Look at the header of this website. My thoughts were explained there. Trusting yourself, trusting the song. Adults in the room, the whole deal.
Dry Spell is buried at the end but has the lushest quasi chorus where my incredible friend Tim Midyett absolutely puts on a bass clinic without sounding like he’s trying. The tastiest bassline under a sad wash of chords and buried vocals. It borders on Interpol and I mean that as a compliment. I would guess they may be more inspired by My Dad is Dead but who knows. The song winds down with the closest thing to sounding like a revolution summer “talkie” over an octave slowdown. Every move is the right move.
The album closes with a cover of Took a Hammering by Rifle Sport and you’re now on track eleven and you guy “holy smokes how have I not noticed how incredible this drummer is” and it’s a normal response because Mike is so smooth and machine like, you can’t help but fall under a spell. Be prepared for him to shrug after the set and say “I don’t know, I’m not good at this anymore.” What a goofball.
This album was recorded beautifully by Matt Barnhart, mixed impeccably by J Robbins (of the oft mentioned Jawbox) and mastered by the best in the business, Bob Weston at Chicago Mastering Service.
The album was released on Comedy Minus One and can be purchased on their website via the following link.
FIVE STARS!
I like the second SIRS album, too. I like blogs. This is a very good review of a very good album.
I think Jawbox always kinda wanted to be a Chicago band. I heard the song “Motorist” the other day and it sounded pretty Chicago to me, in the way that you described up there.
When I saw Jawbox a few years ago (right before the pandemic, I thinks) they mentioned how they always thought of Chicago as their second home. Sunny Day Real Estate said the same thing. Interesting.