Reflective Jazz-Rock Fusion for the Modern Era: Macabre Plaza- Southwestern Reincarnation

While many EPs line the discography with plenty to listen to, this latest release, Southwestern Reincarnation, is only the second LP under the Macabre Plaza guise. I say guise, because the identity of this artist is actually a well-kept secret, though well speculated to be a side project for the bassist of The Garden, Wyatt Shears. This theory makes plenty of sense considering the many similarities the two groups share, as well as the overall nature of Macabre Plaza’s tracks being mostly demos. There’s a certain charming roughness that is enacted through the production and writing, being both simplistic and short.

Listen while you read!

Southwestern Reincarnation is a short and sweet album, though should not to be overlooked simply because most tracks fall under 1:30. Mostly in the titling, but with desert vibes sprinkled into the tracks themselves at times (especially 'Ode To The Desert'), the southwestern aspect of this album is an interesting mindset that finally formally introduces us to Tucson Arizona, the city where Macabre Plaza has been based all the while.

'Ode To The Desert' is a slap bass treat that might as well be an ode to the '80s instead with its synth pad stabs. 'The Black Horse Is A Murderer' steps back in true "track #2" fashion and features reflective rifts and padding. Jumping back into classic Macabre Plaza tunes, Southwestern Reincarnation comes back with as much swing and gusto as possible, a charming little diddy. 'Behind The Gas Station' ignites a very accurate southwestern true crime intro feel, with the starting riff feeling very reminiscant of Better Call Saul. The jump between daytime and nightime vibes with every track feels very intentional and adds to the mystique and intrigue of the whole project. 'Sprinting Across The Highway' takes us back to a high noon session of reflecting on a past life or death feat, sun shining on your closed eyes as you map out the path going forward. 'Empty Bus Stop' sees that sun set while we start the isolated journey back home. 'That Teapot Just Moved On It's Own' is a sort of whimsical fusion track that while technically being able to exist outside of this album, I couldn't see it coming from anyone else. Somehow, at times, the immitation of nostalgia can create something more beautiful than the memory ever was. 'Bones Under My Backyard' is an abrupt close to the album, perhaps signaling that there is much more to the story we've seen unfold over the past few minutes, or that more music is on the way.

In the indie scene, projects like these are no rarity, yet finding one so sonically consistent is a real treat. This is not oinlya statement to the album itself but the Macabre Plaza identity as a whole. If you've liked what you've listened to so far, Bands such as The Holydrug Couple and Sababa 5 surely share fanbases with Macabre Plaza, given their instrumental nature and potential to be a killer inspirational mixtape. If we conclude that the Wyatt Shears theory is correct, the production goals make more sense; The Garden has had some overlap with Mac DeMarco, possibly inspiring a similar production style in Macabre Plaza’s music, where members are allowed to be more free and take creative liberties.

As someone who frequents the many tracks from this group, it's great to see Macabre Plaza return with so much energy and creative force. Make sure to check them out on instagram to stay up to date with all their happenings, and give them a follow on spotify while you're at it! Thanks for reading!