AMG Review of Matson Jones

Johnny Loftus
All Music Guide

Matson Jones features two cellos, two vocalists, and a traditional rhythm section. No guitars or anything like that. But while the instrumentation is unconventional, on their self-titled Sympathy for the Record Industry debut the Colorado quartet draws directly from the indie rock status quo. Think Sleater-Kinney and PJ Harvey, not Rasputina and Apocalyptica. MJ's Martina Grbac and Anna Macorella most often play their cellos like wrangling rhythm guitars, lingering one's snaking melody on the churning tone of the other and periodically locking them together to match wits and volume with drummer Ross Harada and bassist Matt Regan. "N.E.S.F.T.O." and "Welcome Back, Mr. Audiotechnica.." pulse along like scratchy organic takes on Throwing Muses' Real Ramona LP, and Grbac and Macorella's lyrics throughout the record reflect cryptically on mind games, horniness, and damaged sex. Their vocals are also heaped in a crackling distortion effect. They might employ it just a little too much, because it's interesting when one voice stays in the effect and the other comes clean, like in the center of "Little Bit of Arson Never Hurt Anyone" or the on the late-set standout "He Means Nothing, Dear." But Matson Jones seems to want its focus on the cutting tone, both in the sawing cellos and their lyrical, sometimes foreboding detachment. The band also gets credit for never using their unique configuration as a crutch or gimmick. Other track highlights: "***Italian Song" and "///Spring Fever."