Wendell Borton convey their sense of joviality and lightness quickly, kicking things off with the titular track ‘Crawl’.
With some subtle, washed out production, some weird vocal harmonies and some unmistakably fun musical elements, this is a very endearing song, which opens a very endearing EP.
They sound like they would be a lot of fun to see live, but the recordings are plenty of fun on their own.
‘Grieve’ brings the fun factor down a notch, introducing some more nuanced guitar work and a slightly more serious vocal track, supported by a nicely progressive drum line, the vocal harmonies are more orthodox and work well to move the track into the deeply enjoyable musical fills.
A massive point to Wendell Borton’s credit is that their choice of musical lines is quite subversive; they would likely be decried as another group of pop-punk plonkers were it not for their habit of taking a lot of musical back roads.
There are a lot of sequences that you might expect a certain sound to follow, but they take the less obvious route and display their song-writing chops in doing so.
This is particularly evident in ‘Grieve’, whilst in ‘The Youngest Dad in Elgin’ – the closing track – the bass is given the most room to manoeuvre, bringing the EP to an end with a bouncy belter of a bass-line.
This is Wendell Borton’s second release, it doesn’t take itself too seriously but it is tight and well delivered.
If you have pop-punk sensibilities that you don’t mind having tickled, check it out.
Words: Paul Aitken