The only problem—if it qualifies as such—to Bottomless Pit’s otherwise flawless discography to date is insularity. Familiarity with Tim Midyett and Andy Cohen’s previous band Silkworm has been a borderline prerequisite. There are rewards to this condition: comparing and contrasting Hammer of the Gods (2007), the Congress EP (2008), and Blood Under the Bridge (2010) with Silkworm’s extensive catalog enlightens both sides of the equation, since every aesthetic shift is deliberate and carefully chosen, like Bottomless Pit’s signals to the melodic post-punk of early New Order. The lyrical connection is even more significant. Midyett and (to a lesser extent) Cohen have used Bottomless Pit’s music to reconcile their grief over the tragic passing of Silkworm drummer Michael Dahlquist. Bottomless Pit would not exist without Dahlquist’s passing, a truth those records cannot forget. For card-carrying members of Silkworm’s slowly expanding cult following, Bottomless Pit’s songs are immediately devastating, but my concern is whether this insider-oriented dialogue, coupled with the group’s downright inscrutable branding, has turned three of the finest rock records of the last decade into invite-only affairs.
Shade Perennial addresses that concern with a deft achievement: it opens the door, musically, lyrically, and even logistically to newcomers without compromising what made Bottomless Pit such a valuable proposition. Collecting their previous recordings (along with three unreleased tracks) in the Japanese import Lottery 2005–2012 offered Bottomless Pit a clean break in their discography, less a new chapter and more of the next book in the series, and they took full advantage of it. You can pick up Shade Perennial (issued via Comedy Minus One, marking the first time the group hasn’t self-released reference-quality 45 RPM vinyl) and not feel like you’re entering the middle of a conversation, or at least the seemingly private one I described earlier.
The conversation dominating Shade Perennial does not require an invitation. Tim Midyett, Andy Cohen, bassist Brian Orchard, and drummer Chris Manfrin have a chemistry that’s beyond second-nature. There are no clashes over territory: a rare democracy balances Midyett’s baritone guitar surges with Cohen’s chord slashes and strafing leads, and they’ll open up space for Orchard and Manfrin on quieter moments like “Full of Life.” Don’t mistake this observation for minor praise: you don’t get the subtle emotional shading and dynamic arcs of “Fleece,” the swaggering melodic exchange of “Incurable Feeling,” or the sun-peeking-through-the-clouds illumination of “Horse Trading” without completely dismissing egos. And yet for all of this emphasis on shading and detail, Shade Perennial offers some of Bottomless Pit’s most immediate songs to date, especially Andy Cohen’s trio of up-tempo rockers.
The biggest shift on Shade Perennial is in the songwriting department. You still get two distinct, equally compelling lyricists, but Midyett and Cohen’s respective approaches have evolved since Blood Under the Bridge. Most strikingly, no song on Shade Perennial reads as a rumination on the aftermath of Michael Dahlquist’s passing, whereas that topic hung over their first three records. When Midyett invokes King Poseidon in the opening "Fleece," the shift in perspective is jarring. It’s still a personal song, but there’s a creeping darkness (“You can hurt me but you don’t”) that was previously absent from his generally optimistic humanism. It isn’t until the rolling, six-minute closer “Felt a Little Left” that Midyett sounds embodies the eminently likeable Midyett of old, and the repetition of “I know I know I know” practically recognizes it. Cohen takes the opposite tact, further softening his once-contentious approach with an affecting delivery on “Null Set” (“Forgot about you / Myself too”) and poetic imagery in “Sacred Trench” (“They were just shadows”). He still explores atypical relations with humorous barbs (“Shoot the duck and you will win / What we do is like that stupid game / I honestly think I’m too straight to follow”), but at long last, it’s plausible that Cohen himself is the character being studied.
I recognize the apparent irony: even as I argue that Shade Perennial is less insular, less dependent upon Bottomless Pit’s history than its predecessors, I can’t avoid bringing up that history. View this impulse not as an invalidation of my thesis, but as another reward to any new listeners the album invites to the Silkworm/Bottomless Pit narrative. There is a rich history here—a towering stack of records you’ll have to pry from my cold, dead hands; an innate musical discourse within the group that can only come from Midyett and Cohen's 25 years of collaboration; two songwriters with distinct, constantly evolving voices—and Shade Perennial succeeds as both a standalone document and a gateway to what precedes it. Just remember, you don't need to hear all of the records at once.