“Redefining what noise means within the context of pop, Autolux doesn't believe in boundaries when it comes to experience and expression. It's been a good decade since a band with this much musical depth, melodic diversity, and straight-up style has driven through our world. Autolux is Eugene Goreshter (vocals/bass), Greg Edwards (guitar/vocals), and Carla Azar (drums/vocals). Although they have garnered comparisons to My Bloody Valentine, Sonic Youth, Mercury Rev, one really can't compare them with ease.
Future Perfect is a work of unimpeachable brilliance, an album that takes its listener hostage and doesn’t release him until each of its 11 demands has been voiced and met. Its very first mandate, “Turnstile Blues,” is one of the finest opening salvos in recent memory, an ornery purple bruise of a song that knocks down even the most cynical doors of resistance with a drumbeat so powerful, every hit approximates a sonic depth charge. It’s monumental percussion work — “When the Levee Breaks” on amphetamines — and from the moment it reaches the speakers, before the serpentine vocals, molten guitar work and grinding bass distortions even kick in, it’s all over: Autolux’s seemingly harmless pixie in the homemade drop-cloth dress has you — by the balls, the throat, wherever your flesh is most pliant and vulnerable.
The music on Future Perfect cries out as if tortured and beaten into submission, bent unwillingly into the proper keys, then flung out of the register altogether on icy chains of echo. Built on raucous experimentation in the tradition of Sonic Youth, fine-tuned with the grunge-pop sensibility of bands like Smashing Pumpkins and channeled through racks of effects that would make My Bloody Valentine envious, Autolux’s sound is visual and hallucinatory: Tommy-gun guitars keep a suspicious lookout on “Robots in the Garden” or cut and run in bank-robbery fashion on the flight-themed chorus of “Angry Candy”; the bass skids out as if taking a sharp corner at unsafe speeds on “Blanket”; the drums are foot soldiers fanning out to balance the melodic carnage. “Future Perfect” is the sound of escape, unseen pursuers nipping at the heels of violent exodus. And even in moments of relative calm like “Great Days for the Passenger Element,” Edwards’ lone take at the microphone, Autolux’s rest is fitful, its world-weariness evident. Only on “Asleep at the Trigger,” Azar’s wistful vocal soliloquy, does the band ever seem to let down its guard. . The serious rocking out begins towards the end of “Sugarless”. It's noisy and chaotic, but again it's accessible in a good way. Maybe that's the defining notion of Autolux, they are great at bringing the fringe together with accessibility. And then comes the big single – “Here Comes Everybody”. This is a great mix of the Autolux everything. It's got all of the best parts of the band in one song:
Noise, pop, a little rocking out, and that every-present spaciness.
Granted, the formula employed by the ensemble isn’t entirely unique, but the manner in which it is performed screams with a hallucinogenic fury that far and away exceeds the multitude of other indie acts that, for the better part of two decades, have been mining the same territory with significantly inferior results. Of course, only time will tell if Autolux can move beyond the stylistic emulation of its heroes, but if Future Perfect is any indication, it will be an intriguing process to witness.”
Fuckin'brilliant!
Led
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