With a revolving door of collaborators that include ArielåÊPink, Girls‰۪ Christopher Owens and John Maus, Matt
Fishbeck‰۪s Holy Shit is ground zero for the West Coast‰۪såÊlauded pop idiosyncrasies in recent years. The Harvard
graduate and devout gondolier emerged as Holy Shit inåÊ2006 with Stranded at Two Harbors, a collaboration with
Ariel Pink that foreshadowed the latter‰۪s work in HauntedåÊGraffiti, and garnered a fervent cult following for Fishbeck‰۪såÊsingular approach to labyrinthine home productionåÊand chilling melodies. Later EPs appeared on imprintsåÊlike Fat Possum, and recent years have found Holy ShitåÊtouring with Beach House. Fishbeck‰۪s artistic character isåÊfurther revealed by unusual projects: he contributed to aåÊbook on the venerable 1980s English pop group Felt andåÊlast year brandished a cover of ‰ÛÏWoke Up Sticky,‰ a soloåÊsingle from The Only Ones‰۪ Peter Perrett, at an exhibitionåÊopening of visual artist Ryan McGinley in San Francisco.åÊ
A latticework of understated percussion and tape hissåÊthroughout, Stranded at Two Harbors on the front-end
veers from the bristling new wave intensity of ‰ÛÏTokyoåÊGamblers‰ to the poignant psychedelic pop of ‰ÛÏMy Whole
Life Story.‰ On the flip, Fishbeck‰۪s pop adaptation runsåÊwild. The damaged and buoyant thrill of ‰ÛÏI Don‰۪t NeedåÊEnemies‰ even puns on the English music weeklies, withåÊan Anglo-inflected final line, ‰ÛÏ... or Melody Maker for thatåÊmatter!‰ Production and surface aesthetic traits aside, ‰ÛÏTheåÊCastle‰ illuminates Fishbeck‰۪s principle assets: evocativeåÊimagery set to deeply penetrating melodies with that perfectåÊguitar lead to match.