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Rademacher

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After years of straddling Fresno and Los Angeles, Rademacher has achieved quasi-legendary status in both cities. It has been a delicate balancing act, particularly given the personnel changes the band has endured. Yet, like the salamander or the human liver, if you chop off one part of Rademacher, the band carries on, eventually regenerating all that was lost. You can hear the effects of such tribulations in the band’s new album Baby Hawk (Part I of III), filled with world- and scene-weary numbers that are by turns laconic and grinding, charting the familiar story of a band’s almost-rise and shallow fall. It’s a winking cautionary tale from a band that’s earned the wisdom to tell it.

“All the best songs are love songs,” Malcolm Sosa sings at the start of “They Are Always Into That”, a tune that few will interpret as a love song. But is it one? It’s certainly not a love letter, and it’s hardly romantic. But its tension sounds a lot like love as it actually exists, with the loping, jangled guitar building to an eruption of noise, before pulling right back into perspective: “Who,” Sosa sings, “who really cares?” “Easy,” he repeats, “come and go.” Whether it’s one of the best songs remains for the listener to decide, but, from the right angle, it sure starts to sound a lot like a love song.

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