Autolux – Transit Transit
TBD Records: 2010
What is it about some noise-rock/shoegaze bands that cause them to more or less drop off the face of the earth after dropping a (near) seminal album? Most notably, fans of this particular brand of music watched as My Bloody Valentine released their sophomore album, Loveless, a genre-defining piece of noisy brilliance, in 1991 only to never really hear from them again.
It appeared that the same was bound to happen to Los Angeles trio Autolux. After forming in 2000 and wowing critics and listeners alike with their 2001 EP, Demonstration, the band churned out the absolutely fantastic Future Perfect. The album was equal parts artsy melancholy rock and ballsy shoegaze; a perfect blending of sounds that was distinct, yet familiar. Whether your jaw was hitting the floor over drummer Carla Azar’s amazing technique or you were falling for Eugene Goreshter’s tender vocals, Autolux just nailed it on their debut. But following its release and some scattered tours, they would only tease some new tracks every few years or so via MySpace.
But it seemed like all hope for a sophomore album was lost when Transit Transit was delayed indefinitely earlier this year. Originally scheduled for release in January, it suddenly disappeared in terms of publicity and industry chatter.Then, out of nowhere, Transit Transit received some minor press as the months passed and an August release date was announced. It was the kind of frustrating industry nonsense you always heard about but wished would never happen to your favorite act. For Autolux, it meant minimal coverage and nary a promotional push to be seen.
But even without all of that, Transit Transit still hit stores on Aug. 3. And, fortunately for fans, it delivers.
Where this album differs from its predecessor, almost immediately, is that you are not instantly engrossed from the jump. Instrumental opener “Transit Transit” offers a clear maturation of sound and woozy introduction to what promises to be a new musical ride with this trio.
That feeling is nearly negated by “Census”, though, as it sounds like a leftover Future Perfect track. But it’s not in the this-belongs-on-the-cutting-room-floor sense. Rather, it’s a fitting means of bridging the gap between the two releases because it’s steeped in Azar’s fluttering percussion and Goreshter’s longing falsetto. You know, that raw juxtaposition that made their debut so loveable. The same could be said for lead single “Audience No. 2” and “Supertoys”, two pop-minded songs that find the band simultaneously at its most upbeat and noisiest peak.
But neither of those tracks really throws itself at you like some of the more accessible tracks on Future Perfect. Instead, these are growers, musical plants sprouting from the garden of Transit Transit that takes repeated listens to fully develop. As a result, you might not instantly appreciate the brilliance of slow-moving, beautifully written “Spots” and chugging, riff-driven “Headless Sky”.
Interestingly enough, this record hits its peak once it ends with “The Science of Imaginary Solutions”. The track finds Azar taking over vocal duties over a steadily building, sometimes raucous crescendo each time the “it’s all over now/it’s all over now/for you” hook hits. Aside from being one of Autolux’s finest musical moments, it’s also the band’s longest track yet. Like any well-written piece, though, you hardly notice the length and remain engaged until the last bit of distortion fades.
“The Science of Imaginary Solutions” is, above all, a fitting conclusion to an album that struggles to find its footing at first listen. But once it does, you might just get stuck on Transit Transit for a while.
3.5 out of 5
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
