Written by Marlee Price
Alternative country, bubble grunge, and slacker rock are just a few genres that have been used to describe the sound of the band Wednesday. Hailing from North Carolina, the ensemble was started in 2017 by lead vocalist Karly Hartzman and multi-instrumentalist Daniel Gorham. Steel pedalist Xandy Chelmis, drummer Alan Miller, and bassist Margo Schultz were later added to the group, all contributing to their 2020 record, I Was Trying to Describe You to Someone. Today, many connect the band with rising indie rock star MJ Lenderman, whose joining as a guitarist/ vocalist was first exhibited on their 2021 release Twin Plagues. The next year they released Mowing the Leaves Instead of Piling ‘em Up, a compilation of 9 covers ranging from classic country to 90s alternative rock, truly exhibiting the band’s talent and versatility.
The record begins with a cover, or perhaps reimagination, of Gary Stewart’s hit “She’s Actin’ Single (I’m Drinkin’ Double)” off of his 1975 album Out of Hand. While Stewart’s version is a prime example of 70s contemporary country, Wednesday puts a shoegaze spin on the tune, which adds energy to the verses but simultaneously takes energy away from the chorus. Both of these edits work nicely. The static-like guitar that is a key part of Wednesday’s composition compliments the piercing feedback that begins the song and can be heard throughout. Track 2, a cover of Chris Bell’s 1992 single “I Am The Cosmos,” leaves a different taste in your mouth compared to the previous melody. Here, musician Zach Romeo is featured singing alongside Hartzman, pristinely exhibiting the longing Bell must’ve been feeling when writing the lyrics. This version is much spacier, which I believe coincides well with the song’s title.
Track 3 is a cover of Roger Miller’s “Lock, Stock and Teardrops” from his 1964 self-titled record. When I hear Miller’s performance, I envision my grandparents slow dancing at a dimly-lit honky tonk it the middle of nowhere. When I hear Wednesday’s version, I envision the same thing, except maybe the scene is set at a high school battle of the bands event in the late 80s, and my grandparents are doing some light head-banging. The following track is my personal favorite on the album—the band covers Drive-By Truckers’ “Women Without Whiskey” off of their 2001 album Southern Rock Opera. As Lenderman and Hartzman both have unique voices, an eccentric serenade is created when they sing together, which they do for the remainder of the album. Here, Wednesday is somehow able to keep the original essence of the song instated while also making it their own. As someone who is not the biggest fan of country music, their instrumentalism makes this song very enjoyable for me.
Track 5, a cover of Hotline TNT’s “Had 2 Try,” is another one of my favorites. The shoegaze element is brought on profoundly here, with a distorted guitar lead and the return of the piercing feedback addition. This recording is probably the one that sounds most similarly to the original song, except I believe I’m more partial to Hartzman’s voice over that of Hotline TNT’s frontman Will Anderson. The fuzzy instrumentalism perfectly blends into the next track, a cover of Greg Sage’s “Sacrifice (For Love),” the title track off of his 1991 release. Lenderman’s voice returns to once again counteract Hartzman’s falsetto. I love the chord progression in this song—it almost makes me feel nostalgic for a period of life I have yet to experience.
Vic Chestnutt’s 1990 tune “Rabbit Box” serves as the muse for the next song. Chesnutt’s version is rather acoustic, with guitar strumming being the only thing accompanying his vocals. This choice is rather fitting for the lyrics, which are a naïve narrative of Chestnutt trying to hunt certain animals and ultimately failing to succeed. Wednesday channels this in their version, which features a way lighter instrumental section compared to the other tracks on this album, paying accurate homage to Chestnutt. Something I like about this rendition is that it sounds like it was recorded in one take, in a good way. This makes it feel more authentic and vulnerable, which incorporates nicely into the album as a whole.
Wednesday stays in the realm of the 1990s for the last two tracks, the first of which is a cover of Medicine’s “Time Baby II.” Although Medicine’s version feels rather flat, no offense to them, Wednesday is able to add dimension while still perpetuating the classic noise rock vibe that Medicine encapsulates. The album concludes with a cover of The Smashing Pumpkins’ “Perfect” off of their 1998 album Adore. I was stoked when I discovered this recording, and even more intrigued when I listened to it for the first time and realized that Wednesday took a whole different approach to the song. While the airy vocals and upbeat drums make the Pumpkins’ version very playful, the driving guitar paired with the lack of drums in Wednesday’s version creates a serious, meaningful undertone that makes me want to listen to this song over and over again.
I chose to review this record because I thought it would be interesting to compare each track to its original recording. Listening to the album from this angle allowed me to gain more appreciation for the artists that were covered along with Wednesday for being able to put their own spin on each song. Overall, I love this album and I think that it is a true testament to the ingenuity and versatility of the group.
Favorite Tracks: “Women Without Whiskey,” “Had 2 Try,” “Perfect”
Rating: 9/10