A former member of Washed Out, Phil Jones has struck out on his own, forming the Atlanta-based band Dog Bite. Jones et al. have a lot going on throughout the 11 songs that comprise their Carpark Records debut album Velvet Changes. That is to say, while “hazy pop” might be a descriptor that sums up the record, the songs shift dramatically between and within themselves, moving between low pulsing synths, jangly strums, echoing guitar notes, organic beats, and skittering electronic drums. The end result is a dreamy, diverse, yet cohesive first effort of quality songs.
Lazy but smooth vocal hooks define opener “Forever, Until” as Jones delivers lines like “I wanna go for a walk/ and I wanna spend all day with you.” The unhurried sentiment of the lyrics perfectly mirrors the easy pace of the song, which is one of the most straightforward on the record. Hazy pop with drums at the forefront continues on the second track with Jones’ voice almost vanishing into the background. “No Sharing” changes up the mix significantly, bringing more crisp instrumentation.
“Prettiest Pills” was a single for the album and features ominously distorted instrumentation. The song works well, but it doesn’t feel like a single, given other tracks the band could have chosen. A Nirvana-esque bass line opens “You’re Not that Great” before the remainder of the song continues to recall the indie giant that popularized alternative music in the early 90s, even if it is a shiny, lo-fi version of Kurt Cobain’s style. In fact, as a Smashing Pumpkins vibe seeps through in the song’s final minute, you’re starting to feel a whole lot of 90s alternative permeate the songs of Velvet Changes.
At 5:05, “Native America” is one of the album’s longest tracks, which usually has me complaining, but as Jones chants, “Let’s not rush/let’s not rush” over steady drums I find myself agreeing—the song emerges as a late album standout. The album ends with a pair of plodding pop songs: instrumental number “The Woods and the Fire,” and off-kilter love song “My Mary,” on which Jones lowly chants, “I need you, Mary, you’re my only survival.”
In the end, Velvet Changes doesn’t redefine any genres, but it does prove that Jones is capable of sustaining his songwriting craft over a period of 11 coherent and listenable songs. Let’s hope this is only the beginning from a clearly talented artist.
