Autolux: They’re from L.A., and they’re not boring. Maybe this should be
their slogan. The L.A. music scene, a place which should be
burgeoning with creative musical talent, is pretty boring. We’ve got good
bands like the Negro Problem and the Green and Yellow TV, but we’ve got
nothing like the wealth of talent that Seattle once had or that D.C. now
has. Lots of boring alternative/punk opening bands, sounding either like the
Goo Goo Dolls used to sound or like the Goo Goo Dolls currently sound, find
themselves out of place opening for interesting indie bands from other
places. And let’s not forget current over-hyped bore-machines such as the
Beachwood Sparks (who used to be alright, even) and Black Rebel Motorcycle Club.
But Autolux! They’re good players; they put on a good show; they’re kind of
indie post-punk with a bit of Breeders, a bit of Shudder to Think, and a bit
of Sean Lennon; and they’re not boring. These five songs on their strong
self-released demo, not to mention their solid performances, have been
helping to get the word around. The DIY aesthetic is clear, right from the
words “started and finished by AUTOLUX” on the packaging to the packaging
itself, which shows the kind of homemade care that isn’t incredibly easy to
mass-produce. They’re not quite as good as the nostalgia pop that Green and
Yellow TV and Negro Problem have got covered, but they get props for being
worthwhile and managing to bring an edgier aesthetic to the scene at the
same time.
Eugene Goreshter, Greg Edwards, and Carla Azar each have a unique role in the
group. Azar is the drummer, a rock-solid rock rhythm wizard with enough
technical skill and experience to know that anchor comes before flash (I’m
talking to you, Damon Che). Edwards provides some rhythm as the guitarist,
but he’s generally responsible for much of the atmosphere, applying loops
and appropriate effects to his understated riffs, and just the right amount
of raw strength to those few moments where forceful chords come into play.
Goreshter is the vocalist and bassist; his vocals recall a less nasal Sean
or a much more controlled Craig Wedren, but it’s his bass playing that’s the
driving role in the group, often being the first to hit the distortion pedal
for those intense chorus moments, as well as providing some key melodic
support.
Each song uses dynamic contrast for a full-bodied sound--they can switch
between sparse ‘n quiet and rock ‘n roll with the best of ‘em. Some
take the biting indie rock approach, while others are augmented with piano
and glockenspiel to adapt a calm, dreamy pop melody. While the latter’s
strengths are shown in songs like the closing
(John-or-Sean-)Lennon-esque “Future Perfect,” the former really packs
the wallop that makes the band stand out. “Turnstile Blues” is a successful
experiment in solidity, the pounding beats and riffs rarely altering over
its six minutes, with slight washes of feedback and tremolo guitar licks
making minor but welcome appearances. The disc’s highlight comes with the
chorus of “Angry Candy,” as Goreshter lets out a gorgeously unexpected,
Wedren-esque vocal outburst amongst some driving power chords.
They recorded this demo in a rehearsal studio, and it has just the right
amount of lo-fi intensity that I’m frightened of what will happen if they
move up and out. Considering the trio recorded the songs all by themselves,
it’s quite well engineered and mixed, and the separate parts truly shine on
their own. There’s nothing muddled about it. Granted, as I’ve seen their
live show (which is where I purchased this disc), when the distortion’s
switched on and the rhythm kicks into high gear, it doesn’t have quite the
power that it does when it’s happening in front of you. But that’s to be
expected, and it’s forgivable. Meantime, if you live in L.A., go catch one
of their shows, and pick up one of these afterwards. And if you
don’t... well, if all goes to plan, you should be hearing from them
eventually.
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