One of the highest compliments I can give a piece of music is playing an air instrument. I’ve been known to play air drums, guitar, bass, keys, tambourine, turntables, and more. If you can create a song that immediately makes me jump up and pretend to play along in some invisible fashion, then you have made a fan for life. I could never tell you in advance what tune or artist will get me jamming in mid-air. It’s an almost indescribable vibe, but the reaction is always primal, subconscious, and genuine.
And it’s exactly how I felt listening to Pretty Bitter.
This talented quintet serves up righteous indie rock that sparkles with a kinetic urgency. Hailing from the historically vibrant DIY scene in Washington, D.C., the group channels the plaintive energy of ‘80s and ‘90s alternative rock. Signed to Tiny Engines, they mix in hefty portions of both the post-punk revivalism and blog rock from the ‘00s. The result is Pleaser, a ten-song ode to jangle-pop and indie-folk that showcases big feelings and a bigger heart.
The remarkable voice of Mel Bleker instantly grabs your attention. They have a strong soprano with robust appeal, but I really love the light crack and break when they hit the high and long notes. That ever-so-slight imperfection complements the curious blend of acoustic and electric instrumentation. On any given song, I found myself strumming along with a bright rhythm guitar, bouncing lead guitar, and quirky banjo. And don’t get me started on how the catchy drum fills and their dance-punk syncopation had me grooving and moving around my house.
I love the pop ideas, emo edge, and art house dreams on display.
Pretty Bitter openly flirts with traditional song structure, but that’s only to keep things familiar so they don’t tip over into artifice. The five-piece meshes instrumental breaks, just enough hooks, and anthems without cheese to dramatic effect. It helps that the guitars possess a nice crunch, but they never rely on obvious effects. Let us not forget the combination of engaging melodies and gang vocals that would be perfect for any basement show or rowdy dive bar venue.
The overall arrangements on Pleaser provide a deft fusion of indie rock from the past 40-plus years. Imagine a tour featuring 10,000 Maniacs, Veruca Salt, Sleater-Kinney, and Yeah Yeah Yeahs for an idea of the larger aesthetic. Standout tracks like “Thrill Eater,” “Tommy Deluxe Goes to Hollywood,” and “Outer Heaven” overflow with the sort of vintage guitar tones and emotional vitality that have me playing my favorite air instruments. I just hope that Pretty Bitter don’t mind me jumping around and pretending I’m on stage with them.