SAP‘s side of their split with Chicago-based Person is back-and-forth. The songwriting has its obvious influences of the band’s surrounding Springfield punk scene, as they pretty clearly stand out as a trio of punk musicians trying to take a step out of the bubble. That’s a good thing here, as frontwoman Clare Frachey’s vocal work does an excellent job standing out and carrying each track. The instrumentation isn’t anything to be revered, but it isn’t supposed to be, and that allows Frachey’s voice to hold the responsibility of drawing interest and holding it throughout each track. That responsibility isn’t a daunting task, with each track still living out the punk ethos it’s spawned from and making a point to not run on too long (the longest of the four tracks is just over three minutes), but it does the job nonetheless. The self-proclaimed “swamp rock” band does well establishing its sound on this split, but the lingering concern after SAP’s side comes to an end is that they’ll get too focused on staying within the boundaries of a genre that lacks definition and limits the possibilities for where the pieces of this band can allow it to go.
Album: SAP + Person Split
Release: November 14, 2015
Our Take: “Skip It”
The first half of Person‘s opening track “Complex” is exciting and catchy, but the near three-minute track ends with over a minute of noise which – on recording – comes across more as nonsense than logical writing and structure. If anything, it weeds out those who aren’t truly interested in the release, but that’s putting a lenient and kind spin on what’s going on there. “I Know” takes the split into an interesting, rock-driven turn that stays throughout the rest of their side of the release. The following tracks are more legible and comfortable to listen to, which again sees punk musicians positively stepping outside of their comfort zone on the split.
Person starts to recover a bit from a confusing start with “Complex,” but it raises the question of “too little, too late.” There’s nothing in the final three tracks that deter you, but there’s also not enough there to make much of a dent in your memory – the walking guitar riff at the end of “Model of Consistency”? Maybe, but there’s nothing in those few seconds that you’d have trouble finding done better somewhere else. On a positive note, the band undoubtedly recovers from a stumbling start by the end of their Side B of the split, but when it comes to the process of releasing recordings where you have time to consider what’s going out before it does, you can’t help to find fault in why there was an opportunity for a stumble to begin with.