Eight years ago, I picked up the first Magic Bullet release, a Boy Sets Fire EP called This Crying, This Screaming, My Voice is Being Born.  Magic Bullet at the time was basically not yet a real label, just a small DIY operation run by the guy from Waifle, Brent Eyestone, to put out that CD.  As the years went by, and I became increasingly entrenched in the Hardcore scene, Magic Bullet continued to put out interesting records, from artists such as Stephen Brodsky (from Cave-In), Brent’s post-Waifle band, Forensics, and Sparrows Swarm and Sing. Unlike so many other labels from back then, I still follow Magic Bullet. There seems to me to be a parallel between myself and their own development as label. In any case, Magic Bullet’s latest release is Field Studies, a split between This Will Destroy You and Lymbyc Systym. Though each band is distinct, their styles are similar, with TWDY relying more heavily on the full band instrumentation and less on electronics, and the more minimal duo of Lymbyc Systym crafting more ambient and electronic oriented tracks.  The five tracks that make up this EP feel coherent, and are fine representations of each band. 

Field Studies opens with two new tracks by TWDY, beginning with the 11+ minute monster “Brutalism & the Worship of the Machine”. The track doesn’t evoke the purity and rawness of modern architecture, but is too warm, patiently building a subtle crescendo anchored by a strong melody. Easily amongst their best work, the song is carefully crafted, and is a prime example of how this Texan quartet blend subtle electronics and additional instrumentation, sounding like strings and horns mostly, within a typical post-rock framework. All the elements you would expect are here; hypnotic drumming, tremolo picking,  reverb drenched guitars, subtle crescendos and big climaxes. Yet, everything is done right. Nothing groundbreaking, but the track is memorable and executed perfectly. The track winds down and leads right into “Freedom Blade,” a shorter, gentler track that is reminiscent of the more ambient interlude tracks off this year's self-titled LP. It seems most have agreed that that LP was underwhelming following the high expectations from the groups debut, but these two tracks work well together without creating the dynamic lag as on the longer release. The track opens with a syncopated repetition of chords, with glitchy electronic rhythms in place of live drums. Strings favor prominently in the arrangement, and the ascending melody is calming and familiar, providing an appropriate counterpoint to the bombastic intensity of the opener.

Lymbyc Systym contribute 3 relatively short songs, all around the same length of 3 or 4 minutes. Unlike TWDY, they rely heavily on electronics and less on repetition. Their music is unusual, but has a strong grounding in pop, with solid hooks in each song. Their exuberance is what defines them, and their music is unique because of it. Mixing electronic elements, live drums, guitars, samples and synths, the duo of brothers Jared and Michael succeed in not only rounding out a solid release, but even out-do their more well known split-mates’ contribution. The transitions between tracks aren’t seamless; the listener is aware that on song has ended, and another has begun. But the pace is such that one doesn’t have time to miss the last song. They do not let up, shifting tones, transitioning melodies and rhythms, and doing so in such a way that is interesting and instantly memorable. Lymbyc don’t waste time, and jump right in, with kinetic rhythms and catchy melodies. The arrangements build and collapse, with often unexpected surprises. The  horns on “Notations” connect us to those in the opening track, but sound utterly triumphant compared with TWDY’s use earlier - possibly the album's highlight. After winding down, “Narita” begins slowly, with a reversed melody, and a Sigur Ros-inspired piano melody resitng on top. Like on their debut, Love Your Abuser, Lymbyc System’s songs progress rapidly without sounding hurried. I just feel cheated that there are only 3 songs. 

The split was recorded by John Congleton, of the indie rock band the Paper Chase. In addition to having recorded TWDY’s s/t, he has also worked with a diverse body of impressive artists, including the Appleseed Cast, Modest Mouse, Explosions in the Sky, and R. Kelly.  TWDY’s tracks sound epic, and their hugeness is emphasized by Congleton’s production, characteristically emphasizing the drums and bass. 

Field Studies succeeds in doing all the things a split should do. It showcases each band's best work, is made up of all new material, and potentially introduces listeners to a new artist they may not have heard. The album is coherent and yet each group still maintains their own personality. Lastly, it leaves the listener ready for more. 

-Joseph Sannicandro