Hailed as legends of the indie/garage rock sounds of the late 90’s, this Brooklyn based group has been making waves for years. Label partners of Spoon, Courtney Barnett and Curt Vile’s project, and Car Seat Headrest, it was fate that I stumbled upon them.
Formed by Daniel Kessler and Greg Drudy in New York, Paul Banks came in later, butting heads with Kessler in the early days. Before their first album, Drudy would leave to focus on his business. Sam Fogarino replaced him on drums and still performs with the band. Similar to Will Toledo, Paul Banks focuses primarily on rhythem guitar. Though during times without Bassests he would step up.
The first song that hits you is “Rover”, as “If You Really Love Nothing” does it’s job as an opener and only introduces the sound. This song is the fast paced, groovy song that gets you moving. His high pitched, whiny vocals fit right in place here.
I personally love the contrast between “Rover” and “Mountain Child”. It’s not the pitch change or pace, but the mood of the song. It’s their old brand of dark which I enjoy on this.
Sometimes there’s a song that knows just how to press your buttons. For me, I find that in “Stay In Touch”, a beautiful guitar-heavy track that reminds me of songs by rock groups of my youth like Modest Mouse, The Killers, or Wilco to an extent.
After this song comes the first interlude, which is short, but does help to organize this album like a divider in a file drawer. “Mountain Child” is the song which comes after this, and it is honestly the best song on here. The introduction measure isn’t too long, all of the instrumental and vocal layers come in one after another, building to the wavey chorus. “Show me what it is, what you use it for” sounds so good with the echo fade on Banks.
“Survailance” doesn’t have any fancy, poetic lyrics, but a funky drum beat and out of rhythm vocals make this an interesting one. There isn’t anything memorable about this track, and that’s unfortunately true about most of the songs on this album. I think there are some key things this track is missing that could have made it great.
There’s nothing about “It Probably Matters” that screams it’s a closer. Though a good song for sure, the rhythm just don’t feel special in any regard. There is a short interlude before the song which makes a better closer.
This is another creme colored vinyl and I think it works because of the rest of the album art. Just like the music on it, it’s boring. Conceptually the art works, though I don’t really see how it fits this album in particular.