Entrez Vous: Entrez Vous! | ★★★★ | Self-released | July 7

You could run out of fingers and toes trying to count all the Chapel Hill-area bands that Clark Albert Blomquist has been in since 1998, let alone the number of genres they touch. 

The baroque indie of the Kingsbury Manx, the whispery folk of Work Clothes, the odd pop of Waumiss, the garage rock of Spider Bags, the punk rock of Cold Cream, the experimental electronics of Tegucigalpan, and his more recent turn to country—among these, Blomquist has played everything in the standard rock kit and much beyond it.

Kelly Reidy has also been writing music and playing shows for two decades, though more often as a solo singer-songwriter, and in the Triangle only since the pandemic. Her songs provide most of the source material for the debut album by Entrez Vous, her new band with Blomquist, who splashes them with the psychedelic watercolors that permeate his most personal projects. 

Even on a quick impression, the band’s concept and styling are striking, and quick impressions are what Entrez Vous is all about. Most of the songs are just a minute or two long; they state an atmospheric vision, lodge an earworm, and duck out. They’re like interesting confections, brightly colored but with flavors of umami.

We hear blissed-out, fuzz-coated country, rock, and indie pop with all the sharp, interlocking edges that make up a song rounded off, smeared into glowing blurs. Reidy plays melodiously snarling guitar as well as cello, flute, and synths. Blomquist plays bass, organ, drums, synths, some guitar and cello, and a vibraslap. 

The record deftly threads between pop immediacy and experimental breadth, and it says something of its boldness that it does not evenly distribute these properties. After all the vocal-led songs, the final third of the record slips into the hallucinating instrumental territory that has gleamed on the horizons throughout, where sunburst colors play against shades of gray. 

The shift marks a practical divide: after most of the record was recorded at Nightlight, the instrumentals were cut and pasted together from a later home session. But the way they run together fits this knowing retro pastiche of the naïve rock of the Shaggs, the DIY twee of K Records, and the trippy frills of Elephant 6. 

Comment on this story at music@indyweek.com.

Support independent local journalism

Join the INDY Press Club to help us keep fearless watchdog reporting and essential arts and culture coverage viable in the Triangle.