Sunday Music: Protomartyr’s “Formal Growth In The Desert”

Protomartyr’s latest album, Formal Growth in the Desert, is out now. 

I’m well-documented as being a huge fan of this group. I’ll restate that they are an acquired taste. I still stand by my explanation of them as, “If the Dead Kennedys, the Stooges, and some Russian existential literature were thrown into a demonically possessed car factory in Detroit, this is what you’d hear echoing off in the distance.”

The punkyness isn’t there the way it used to be. But in its place has come a textural orchestration that makes them one of the best modern rock bands for my money. I’m loving this record. 

Alex Leonard doesn’t drum like normal drummers. Without any direct Dilla rhythmic connection I can point to, he’s doing his own Detroit thing of making you rethink how each part of the kit can be used to drive and highlight the song. 

Scott Davidson moves from providing chordal anchors on bass to adding melody and counterpoint to Joe Casey’s baritone flawlessly. 

Joe Casey’s vocals. Acquired taste, but he knows how to use what he’s got. I understand the critical take on if his lyrics are a bit much, but I point you again to my Russian existential literature point. He’s Detroit Dostoyevsky in my heart. 

Which leaves us with Greg Ahee on guitars. One-note melodies, laden in delay, drifting in and out of time against the rest of the band. Capo’d up ethereal strums. The lines connect, they drift apart. He’s playing piano, or as the entire string section, or anything but standard rock guitar.

Are they just another proto-punk band? 2010’s (and 2020’s) Joy Division? I don’t think so. I continue to hear so much innovation here. I hope they keep experimenting. 

Here is “Make Way,” “Elimination Dances” and a (super weird, but awesome) live cut of “Polacrilex Kid” to give you a taste. 

Bonus, older but still amazing, they have one of my favorite Tiny Desks ever.