Ought’s debut LP, “More Than Any Other Day,” begins with a track called “Pleasant Heart” that’s led by an instrumental which inspires anything but its title. Its shaggy, stabby guitar and mathematically puzzling drumming take us to singer/guitarist Tim Beeler’s Kinsella-esque howling as the track unravels into a dissonant string-led soundscape.
But Ought manages to feel warm and familiar—endearing; cute, even—in their angst. A clarion of believable hope always emerges from its darkness. The band’s plainly existential lyrics and daring style have drawn easy comparisons to The Velvet Underground and Talking Heads, but it’s their charm which makes these similes most possible. Their character is big enough to mention them as carriers of a long, great, lively pop lineage.
It’s Ought’s humanity that stands tallest at the Empty Bottle on a Saturday night in September. As Beeler somehow balances the dual personalities of his voice and guitar, the crowd shuffles closer to the stage with air-hugs and smiles, like they’d just really like to have a beer with these fellows who anthemically shout about being “excited for the milk of human kindness.” Read the rest of this entry »