Back in the 90s, a band called Brainiac died while they were simultaneously
entertaining lucrative major label offers and releasing music that was more
and more unlistenable. Their last release, the 1997 EP Electro-Shock for
President, contained about 15 minutes of unyielding electronic noise, hidden
in the middle of which were possibly 2 of Brainiac's best songs. When Enon,
Brainiac's John Schmersal's new band, was started, I was expecting some more
noise that was even more electronic, even more unyielding, and even more
unlistenable (in a good way? possibly). Hearing that Jim O'Rourke (producer
of Electro-Shock) was producing early Enon singles and adding "electronics"
didn't exactly change those initial impressions.
Evidently, I am no Kreskin. While plenty of keyboards, electronics, static,
and samples are added for texture, the use of them is restrained enough that
the sound never becomes simply "noise." There are several songs on this
album that should please old Brainiac fans, most notably the opening track
"Rubber Car" and the title track, however even these tracks are toned down
(or, rather, smoothed out) compared to Brainiac's last album and EP. On
much of the album, Enon seems more interested in emulating Pavement
(especially the song "Come Into") or fellow Dayton-ites Guided By Voices than
Schmersal's old band. In each song, there are dalliances, such as vocoded
voice or squawking keyboards, that remind you "this guy used to be in Brainiac"
but overall the sound is much more accessible and pop.
Writing pop songs isn't exactly a bad thing though, and these songs are strong
enough to sway over many reluctant old Brainiac fans. The choruses and hooks
are well written, and there is enough texture to give the songs weight and
durability. With Enon's skill in writing a good jilted, somewhat-noisy pop
song, indie rock may have found its next (circa-Mellow Gold) Beck. Hopefully
Schmersal continues to realize he is not Marvin Gaye.
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