Part 20 of a 20 part rundown of my favourite tracks of 2015
“You fucked each other and dried out in the light of day/you must get in the car and drive/and wait for the moment you forget what day it is/and what you did not say.”
So ends She Calls After You, a vivid sketch of the afterglow and aftermath of a one night stand (or maybe a one last fling). Pete Simonelli’s spoken word pieces often come with a little sting in the tail but few are a simple and devastating as those last few words. “And what you did not say.” As a piece it’s defined as much by what it leaves out as by what it does say – the nature of the relationship is never made clear, the context of this short walk of shame is never outlined for us. All we know is that as a second person protagonist we’re, “less of a presence than an urge to be moving on.” That we have no choice but to leave and to try our best to shake the regret of leaving. It’s an exercise in weary fatalism that makes the act of quiet retreat sound as thrilling as a car chase, right before the searing guitars ebb away to set the stage for that cutting dénouement.
There are subtle layers of shimmering guitar that drip and glide like rain down a window before the crunch kicks in and it marches towards it’s churning crescendo. I sent my review on Echoes & Dust to guitarist Kevin Thompson who took issue with me comparing Enablers to Slint, pointing out that he’s been ploughing this furrow before they were even a thing. In my defence I find it baffling that people who rave about Breadcrumb Trail and Good Morning, Captain don’t spend their days screaming about the virtues of Enablers similarly narrative based post-punk/post-rock/post-whatever songs from the nearest available rooftop. But after several months with The Rightful Pivot since writing my review I’ve realised just how much they’ve evolved in the 12 years since End Note. It’s lazy shorthand I should probably be put to bed.