Drawing from the past and pushing the envelope of the future, The Chariot’s One Wing is rare. It is not only rare within its respective genre, but within the entirety of the music scene. Having followed Josh Scogin’s adventures since the Douglasville days, it is hard to define the man by one record. Still, this record may very well come close.
The songs on One Wing are a lyrical and musical continuation of previous Chariot records. The naming scheme for the record follows the one first seen on The Fiancee as the song titles of the record don’t necessarily relate to the songs; They are meant to be read together. While some dismiss this as gimmick or even laziness, I like the detachment. In a world of predictable pop music where the hook always equals the title, The Chariot believes that the work, as a whole, should stand on its own.
With nearly title-less songs, one is left only to the music to form an understanding of the song and the album. This makes a lot of room for the raw and poetic lyrics to shine. One Wing is truly a well thought out work that screams of completion.
The sounds from this record, much like the songs, are a natural progression for The Chariot. One can only assume that they are very comfortable working with long-time engineer/producer Matt Goldman. Goldman runs a studio in Atlanta called Glow In The Dark. Many a crappy band has paid for and abused the studio to produce polished nonsense, but you can always tell when Matt Goldman is in charge and puts his heart into something.
Goldman’s ability to make masterpieces in all genres (Copeland’s In Motion) aids him in expanding his sonic pallet. You can definitely hear this focus on One Wing as he is the yin to The Chariot’s experimental yang. While maintaining that signature math-y punk sound, there is always a bit of sonic experimentation on Chariot records and One Wing is no exception. I won’t ruin it for you, but there is no shortage of musical surprises on this record.