Let’s call it even on Cave‘s latest EP, Pure Moods. They’ve smoothed out the rough edges of their earlier EP’s – a process started on their first full-length, Psychic Psummer – and calmed down the occasional hysterical vocals. For fans, this will probably seem like a mixed bag. But Pure Moods still delivers three exceptional tunes built around a new, calmer, and cleaner sound that screams “maturity”, although might be more rooted in comfort. We can debate the merits of this, but once the shock of a possibly mature Cave has settled, there’s no doubt listeners can learn to enjoy what the band is doing in the present and not dwell too much on the past.

When I first picked up Permanent Records vinyl release of the Hunt Like Devil/Jamz EP’s, I instantly became a Cave fan (not to mention a Permanent fan as well). From the ruins of the heavy-as-shit Warhammer 48K, the early Cave releases took that band’s heavy kinetic energy and restrained it in a Can-like proto-Krautrock sound. Their songs went from robotic precision to drum circle freak outs without batting an eyelash. Cave’s first built-from-the-ground-up full length, Psychic Psummer, kind of traded in some of the heaviness for a more consistent sound that really left me wondering about how I felt about Cave’s future. That is until Pure Moods.

The future is now and Pure Moods solidifies the notion that Cave are moving forward, and it is time to just embrace that fact. Merely three songs and clocking in at just over 20 minutes, Pure Moods does hit some rocking highs such as on “Teenager”, the second track of Side A, but the record mostly decides to find its spacey grooves at more of a mid-tempo. Its shifts are much more gradual than the early Cave kitchen sink wig outs. Opener “Hot Bricks” ebbs and flows on a solid bass groove complimented by the always tight as a hipster’s pants drumming with vocals that are darn near melodic.

Speaking of vocals, “Teenager” – the stand out track – has what one might call verses. This is possibly a first for Cave. Is this maturity or just a band that started out as a side-project growing more comfortable in their collective skins? It could be both, but the latter feels closer to the truth. Sometimes the influences of the individual band members can clash in a beautiful way, which was exemplified on the earlier Cave EP’s. And sometimes, with time together, those influences can be harnessed into a more coherent whole, which seems to be the case on Pure Moods.

This is most evident on “Brigitte’s Trip (White Light/White Jazz)”, a track that encompasses the entirety of side B. Never has Cave been so patient with a build-up as the song starts with a slow burn and then reaches a raging, albeit still constrained, rave up midway through. A few years back, Cave might not have been willing or able to let a song breath for so long without chewing it apart somewhere just for the sake of it. “Brigitte’s Trip” doesn’t even end when you suspect it will. It just slows way down and sleepily grooves its way to a sleepy ending. It’s an interesting way to go out and again shows a bit more willingness on Cave’s part to let things ride for the sake of mood.

So, it seems we’re even. I initially wrote Cave’s Psychic Psummer off as a let down. What I wanted and what they gave didn’t initial jive, and, at the time, that lead me to believe I didn’t like where Cave was heading. However, Pure Moods has put me in my place, and, in the end, lead me to reassess Psychic Psummer by illustrating that Cave knew exactly what they are doing. Maybe over the course of another full length hearing some of that old Cave manic restlessness would serve them well, but the 20-plus consistent minutes of Pure Moods certainly sits well in the here and now.
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Catch CAVE on Friday, June 4 at the The Hideout for the Pure Moods record release party! Tickets are still available right now at Ticketweb.com for only $8!

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