State of Ohio

State of Ohio

(self-released)

Record Review by Adam McKibbin

State of Ohio kick quite a bit of ass.  According to their bio, the quartet was formed in 2005, but it’s hard to believe that they weren’t around for the halcyon days of indie-rock-that-rocked and underground hardcore.  For one, they seem to be of that time rather than influenced by that time—particularly during the exhilarating opening stretch of their self-titled record.  But facts are facts, so, here in 2007, State of Ohio can’t claim credit as innovators, as they’re walking in the footsteps of bands like Against Me!, Sleater-Kinney, Pavement, and a bunch of heartfelt Midwestern indie-rock that was played in sweaty basements and tiny clubs.

“Indistinct Chatter” sets the pace for the album with its bellowing vocals, clattering percussion and big hooks.  The production is the right kind of lo-fi—it doesn’t distract by getting too sludgy and no one is unduly buried in the mix.  “No Smiling Bastards” slows the pace early on to build to a crashing climax, employing some effective vocal tradeoffs along the way.  Three of the four members take the mic at one time or another (drummer Dale Ursic doesn’t do the Don Henley thing, but keeps plenty busy), and that added flexibility pays big dividends when heard over an entire album.

“Roadside Attraction” is one of the standouts, with a sharp lead riff and an anthemic, fist-pumping, beer-raising chorus.  The Pavement echoes are fleeting but strong, coming across in the shuffling, “Zurich is Stained”-reminiscent riffing of “Tulpa”—which eventually arrives at a place more related to early emo.

Even on reflective moments like the closing “Wasted in a Vase,” State of Ohio never take the pedal off the metal for long.  Earnest and energetic, their self-titled album provides a welcome link to the past while still sounding vital in the present.  Bonus points awarded for actually being from the place referenced in the band name (take note, Of Montreal, Tokyo Police Club, etc.)