Back in July of 2021, Total Wife released their self-titled record; which we got around to reviewing somewhat recently. Today, June 29th, 2022, the band released the official full-length follow-up, A Blip. In our prior review we expressed hesitancy that maintaining their level of excellence seemed like an impossible challenge but I’m happy to report we were entirely wrong. A Blip is an absolute powerhouse.

Comprised of ten tracks across 45 minutes, A Blip builds on the shoegaze foundations the band has proven to be more than adept at and introduces a myriad of new elements and styles. The EDM style drums on “It’s Violet” swirl through a cascade of feedback. Interlude “Not” fires off a wall of knob-turning distortion before transitioning into the euphoric and melancholy guitar swells of “Here.” Closing track “Hello” pounds relentlessly through a cloud of ever-layering vocals before giving way to a heavenly hypnotic refrain dashed with just the right amount of backwards guitar.

If that all sounds overly flowery, I make no apologies. A Blip is a beautiful record that combines a giant wall of guitars with intricate flourishes and patterns, a perfect recipe for my taste. Fans of Broadcast, My Bloody Valentine, and Gish era Smashing Pumpkins will find themselves at home here but won’t be steeped in recycled tropes; just a Venn diagram of familiarity.

A Blip is anything but. It is not fleeting nor temporary. It is an immersive listen best experienced at the highest volumes.

Without making much of an effort, you’re likely familiar with the works of Dillon Watson. By my estimation, he’s been making music in the Nashville area for well over a decade and every endeavor he’s been involved with has been a worthwhile listen (to say the least). The Kindergarten Circus were a young band that kept the energy at Full Sweat levels, D. Watusi‘s Dark Party ranks among my Top 10 of All Time Nashville records and Savoy Motel always brings some funky, squishy good times. Watson was a primary member in each undertaking.

To add to that list of Top Notch Enjoyables, Watson recently released his first solo single under his own name, “Love Me Do.” The song credits cite notable names Jake Davis as producer, Jovan Quallo arranging horns, and I’m told Jamin Orrall (JEFF), Jack Lawrence (Raconteurs), and James Wallace (Skyway Man) are involved in the recording as well. Having a litany of talented friends involved makes for a nice enticement to tune in but the song itself is the real destination. Over the course of four minutes, “Love Me Do” unfurls from a languid pop song soaking in 70s keyboard twinkles into a horn-filled celebration with swirling guitars. Watson’s vocals manage to combine a hint of snarl with earnest sweetness as he calls out the titular refrain. Giving it a focused listen and you’ll hear bits and pieces of all the projects that came before it but evolved into a new form.

As the inaugural single, the future is wide open on what Watson might produce next. The digital b-side to the track gives us a hint of what may be headed our way (spoiler: it’s also great) but with Watson, the best plan of action is to just stay tuned and wait to hear what comes next. Given the track record, it’s gonna be good.

Catch Dillon Watson on Thursday, June 16th at Wilburn Street Tavern at 8PM. Free show and you’re bound to get an extra taste of what he’s been cooking up.