The Bats - Foothills
By
Jesse E. Mullen
There is an essay by Isaiah Berlin entitled The Hedgehog and The Fox. The title is based off of the old adage that “the fox knows many things, but the hedgehog knows one big thing.” While Berlin was primarily talking about Tolstoy’s view of history, his basic premise can be applied to a variety of artists. And more specifically, musical artists.
Because of his stylistic leapfrogging, David Bowie could be considered a fox. Because Lou Reed pretty much stuck to direct, simple poetry and chugging guitar rhythms, he could be considered a hedgehog.
The Bats are firmly in the latter category. Formed in Christchurch, New Zealand in 1982, they have preferred to refine their jangly indiepop sound rather than doing something drastic – no Berlin/Eno excursions for this quartet.
But this has a positive effect on their discography. You’d be hard pressed to find a bad track in their nearly 40 years of album making.
So where does this leave Foothills, the latest Bats offering? Well, it’s another fine collection of jangly indiepop – with a gradual shift towards mellower, introspective material that one would expect from musicians in their mid-50s.
That’s not to say they haven’t evolved slightly. “Scrolling” features atmospheric soundscapes by way of some beautifully reverberated guitars. “Beneath The Visor” is reminiscent of Stoned and Dethroned-era Jesus and Mary Chain with understated acoustic guitars and subtle Gretsch tones.
But there is a sweetness to The Bats music which doesn’t require complex showmanship or extra instruments. The beauty lies in the simplicity of the songwriting.
As the ultimate hedgehog band, The Bats have changed very little since their formation in 1982. Yet they still find ways to keep their sound fresh by doing what they do best – writing killer songs.
In Foothills, The Bats have crafted an album evocative of summer evenings, regardless of the time of year.
Flying Nun/2020
