Riddles From the Universe (2021)
The Cowboy
As post-punk becomes increasingly popular around the world, certain bands and regions began to take on distinctive sounds, broadening the subgenre from within. Parquet Courts have achieved the most commercial success over the last decade, but their sound ebbs further from their rebellious beginnings each year. Even bands with a DIY-based audience are slowly abandoning the frenetic influences of punk over time. Unlike some, Cleveland-based trio, The Cowboy, play post-punk with a fierce sense of technicality, but stay true to the aggressive pacing of early ‘80s punk. Their third album, Riddles from the Universe, leans much closer to their hardcore roots and helps narrow the wide gap between straightforward punk rock and alternative post-punk.
(Video: The Cowboy, “Virtual Traveler”; dir by: Richard Rodriguez)
The third album from The Cowboy arrives through the small but dominant Feel It Records. It’s the band’s second consecutive release through the Richmond distributor, and places them alongside some of the most sought-after acts in punk, such as LYSOL, Smirk, and the highly anticipated upcoming Alien Nosejob LP. Feel It’s roster sells noticeably well compared to similar labels, and has spawned many of the scene’s most impactful records in the last two years. The Cowboy released their second album, Wi-Fi on the Prairie (2020), right at the beginning of Feel It’s current hot streak, and in the time since, the label has become a breeding ground for DIY success.
Riddles from the Universe begins with “Our Vision” (above) a track that combines elements of early west coast punk with the preacher-esque vocal delivery that has become synonymous with post-punk. Vocalist Josh Banaszak performs with a monotone vocal range and his lyrics are sparse and to the point. Banaszak stands out with lines like,
“Poppa bear’s/Got the munchies/What’s in the kitchen/Let’s take a look”
Where other bands write extensive verses that mirror cult leader ramblings, Banaszak presents a narrative that is so fantastical it is counterproductive to decipher. He avoids attempting to sound too prolific, and replaces forced complexity with half-baked satirical punchlines.
The melodic structure of each track is as effortless as Banaszak’s lyricism. “El Poño” (below) is an 80 second love ballad about an El Camino, which is a trope that has existed in rock n’ roll for generations. The song lacks traditional song structure, with lyrics that feel as though they start and stop as the driver turns his car on. Over their four year career, The Cowboy have tightened their band rapport and improved as musicians, but even when they rip through solos or experiment with time signatures, their songs typically follow a simple effective formula.
(Video: The Cowboy, “El Poño,” dir by: Richard Rodriguez)
The outlier tracks that feature the band slowing down are also some of the record’s most intriguing moments. On “Mojo Planet” (below), The Cowboy tone down the distortion, and drummer Drew Vacarro takes control with a ride-heavy drum pattern. When guitarist Josh Banaszak and bassist Steve Peffer step behind the drums, the focus turns to Banaszak’s vocals which gain intensity in a quieter setting. The repetitive chorus,
“We shared the taste/Then he zoomed away”
features Banaszak and Peffer playing with more distortion than on the verses, but his verse sections are noticeably lighter. Josh never actually changes his signature vocals, but when the band alters their formula the slightest amount, it completely recalibrates their sound. With at least ten pseudo-punk tracks surrounding it, “Mojo Planet” parallels ‘90s alternative rock rather than ‘80s pioneering staples like Minutemen.
Post-punk has a wider commercial appeal than hardcore punk, and it will likely continue to stray further from DIY basements as time progresses. Uranium Club signed to Sub Pop after The Cosmo Cleaners (2019) and now recall bands like The Feelies rather than Human Exploration’s (2016) more technical version of NERV. The Cowboy have found a formula, and while their playing is more intricate every album is remarkably consistent. Riddles from the Universe closes with one of the album’s loudest tracks, “Stars of the Future.” It’s a noisy conclusion, and ends abruptly with angsty gang vocals. After three albums, The Cowboy are more in-pocket than ever with their trademark sound, and stand out with originality in an oversaturated subgenre.
[EDITOR’S NOTE: A previous version of this article credited Steve Peffer as lead vocalist. Josh Banaszak is the band’s lead vocalist, but Peffer often sings backing vocals for The Cowboy]
©Total Trash Ltd, 2021
