Travel On, Rider – Scrawl

The indie community's knee-jerk negative reaction to finding out about Scrawl's jump to a major was one of puzzlement. The band had been shafted by most of the small-fry outlets that released them prior, and Simple Machines (which released Velvet Hammer and reissued Bloodsucker) were fans enough of the band to continue their support. Regardless, who knows why a major label would sign a band whose minor chords and emotionally naked songs could never translate into unit shifting, but what the signing meant for Scrawl was better availability. New label Elektra wouldn't have a clue as to what do with them, but at least they could put Scrawl's records in more shops and provide a decent recording budget -- therein lies the band's rationale. Travel On, Rider is their most professional sounding record to date. Without sacrificing the band's rough edges; Steve Albini's and Jeff Powell's recording and engineering give the band it's most polished sound yet, but it doesn't make their songs -- still bitter, still pessimistic, still sad -- suffer for it. Two third-person stories set the table, doubling as highlights: "Good Under Pressure" illustrates a woman on the verge of breakdown and "The Garden Path" tells of another who burns her bridges in search of a new life. The playing is as tight as ever, surely the result of constant touring. Dana Marshall's underrated drums are at their most dynamic, Sue Harshe's Rickenbacker bass is graceful and thick, and Marcy Mays' Wire-meets-Cheap Trick guitar lofts countless catchy riffs. Harshe's piano on the second version of "Story Musgrave" is a major stunner. As Mays sings "I'm smart enough to know you have no use for me," there's little to prevent the onslaught of chills. ~ Andy Kellman, All Music Guide