Within the seven years since Tyvek’s final album, the Detroit punks went digging by way of their archive. They reissued a uncommon 2009 cassette and put out a stay album the place they dusted off and ripped by way of a few of their earliest songs. Amongst these deep cuts was 2007’s “Future Junk,” an evergreen gem the place Kevin Boyer screams in regards to the each day grind of driving up and down the John C. Lodge Freeway. Tyvek return to the Lodge on “M-39,” a standout banger from their wild fifth album, Overground. Over a cascading and crunchy guitar riff, amid a blanket of unrelenting cymbal smashes, Boyer’s trademark blunt and unflashy vocal efficiency helps remodel the freeway right into a psychedelic colony chiseled into cement. He twists the identical handful of phrases into knots in order that when he ultimately utters the phrase “writ giant on the Lodge,” it lands like a punchline.

Boyer presents landmarks and clues, however in any other case his imagery seems like a puzzle with half the items sucked up into the vacuum. The guitar sound is uneven and inflexible as ever, and there’s a relentlessness to the sequencing that’s been there for the final two or three Tyvek albums. Every track spills quickly into the subsequent, and infrequently does the band ease up. “Return to Format” and “Rhythm / Sample” are ramshackle as Boyer spits his phrases percussively whereas the band careens behind him. There’s a second on “Going Via My Issues” when he seems to all of the sudden recite the tag of an previous shirt: “LOW tumble dry, LOW tumble dry, LOW,” he shouts within the approximate rhythm of a dryer’s spinning drum. Tyvek excel at this unusual stability between grid-like rigidity and the sense that every little thing may collapse at any second.

Whereas Tyvek have at all times been a revolving door of contributors (Boyer however), the present incarnation has been regular for a number of years now. It’s palpable simply how a lot they’ve locked in with one another. Boyer and Shelley Salant are each on guitar, and lots of songs reward an in depth pay attention for his or her intertwining, jam-forward leads. The rhythm part is robust, which is predicted for 2 Southeast Michigan DIY scene bosses in their very own proper, bassist Alex Glendening (Deadbeat Beat) and drummer Fred Thomas (too many bands to listing). The obvious new ingredient is Emily Roll, Salant’s bandmate within the art-punk trio XV. Their saxophone folds in effortlessly, by no means dominating with an amazing skronk or longform voyage. Roll mirrors the pointed and staccato nature of the guitars—a blurt right here, a pair supplemental notes there. It’s a brand new texture and a calmly bitter distinction to the primary hook. Proper consistent with Boyer’s songwriting, it’s probably the most thrilling sort of disorienting.