Public Disco Porch was formed about ten years ago by York, Pennsylvania's Spencer McCreary when he lived in Chicago. Initially a collaborative project that at times showed glimmers of what the band sounds like today, it has evolved into a stellar four-piece band (guitarist David Portelles, bassist Caleb Miller and drummer Robby Everly), and that sound has become more defined as evidenced by their latest album Agriculture. The release shows great depth both lyrically and musically and meshes power with textured layers as they create a mesmerizing soundscape on every song that is rootsy, atmospheric and at times heavy (think Black Sabbath and Radiohead having a campfire recording session with the late Chris Whitley). The lyrics are very intelligent and often delve into the rural life, working the land and the history and culture of Pennsylvania. Opening track “Agronomy” is hypnotic at first with thick, heavy fuzz guitars, driving percussion and McCreary’s deep, raw and rugged vocals, but as the song progresses it builds with intensity and shifting tempos that will keep you on your toes. The beautiful “Rogation” is a haunting, stripped down, dark goth folk cut with a powerful, emotional vocal from McCreary, and while “Tobacco + Deer” still has folk elements, it is a little lighter and easygoing with a lazy, gently swirling psychedelic groove. “Sickle” starts off as very sparse and quiet acoustic track, but with an underlying tension that builds before exploding into a dark and heavy bluesy stoner metal climax. The epic “Horse Skull” clocks in at almost seven minutes and is atmospheric, slow burning and heavy. It has a raw ambient intro that leads into a folk-tinged metal wall of sound that is dark and dirty with thick, distorted guitar riffs and a throbbing bass that later in the song is fleshed out with stabbing violin, before shifting towards a lighter, more upbeat finish. The album ends with the warmer, cinematic “The Veteran.” The lyrics here are very reflective and McCready’s vocals are not as raw, while the guitars still have a little dirt, but are cleaner and shinier, accompanied by washes of synths and violin. It makes for a perfect ending to an outstanding album (and band) that is quickly becoming my latest musical obsession.

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