To be perfect in the future?
Autolux, are critically acclaimed. But that means nothing anymore, what matters is whether their music arrests you and makes you sit down and listen, to be honest when I pressed play and heard 'Turnstile Blues' I didn't think much about anything. Their music has the same effect Sonic Youth does on me, I undertake the fact it is discordant and melodic at once, but with exception, I am incredibly bored.
'Angry Candy' follows in the same vein, nothing brings this song to life for me, it has short bursts of energy and melody but not much else, though I do note the drumming on this is light and effective; they sound like a mediocre Interpol. I bet they'd play this as background music on the O.C, while Ryans' being moody or something else equally edgy and emotional and deep. On first listen I didn't like this song, but it grew on me a little more after three or four spins, it appeals more to the ear once you get yourself in mood for this melodic, light-hearted affair. 'Subzero Fun' is Super Furry Animals/Death Cab For Cutie lite, songs like these are made for spring summer time, indie pop fun. It's not heavy or deep, it's still California dreaming all the way. 'Sugarless' starts off slightly crunchier in tone, but as the chords progress you can sense us wandering back to the same ground as we have previously trodden with this band; however, this song is much catchier. The bass plays a bigger part in this song, in some weird way making it sunnier without ever having to go to deep or pull out big riffs from the back pocket. The vocals are seemingly whispered into your ear, never rising in tone, adding to that just woken up in the sun feeling that these songs convey.
'Blanket', wow so is this song about Michael Jacksons' baby son that he dangled out of that window in Germany? Apparently not, don't be disappointed, it's a pretty good song. Much more driving and distinctly rockier, the drumming and plucky guitars create a slightly seedier effect on this song, like the sun from the previous songs has finally gone down, the vocals are much more gruff; it's a welcome change from the sunnier tones of the previous tracks. 'Great Days for the Passenger Element' has a huge Elliot Smith influence in it, it could have been a track left off 'From A Basement on A Hill'. It's haunting and beautiful, like Smiths' 'Pretty (Ugly Before)', but still manages to sound delicate and pretty, it's a beautiful song the kind of which isn't produced often enough anymore. 'Robots In The Garden' is more upbeat and is more Supper Furry Animals in arrangement, but also has elements of the La's and The Thrills. It's driving and one of those songs that can sound awesome turned down low or full volume, its versatility is definitely an added bonus. 'Here Comes Everybody' sounds like Air, timeless it floats by on the light chorus and the melodies the guitars create around the vocals, the bass just lingering behind them. 'Asleep At The Trigger' is a minor let down after the last few tracks being so listenable, this one is slightly bland and samey, the vocals are just that bit too sweet and longing for my liking, ruining a possibly good song.
'Plantlife' starts with a beautiful drum and acoustic guitar arrangement that seem to almost quiver under the otherwise feather light vocals of Eugene Goreshter, and though this trails off into being a little blah at the end with an uninspired drum solo, the song still feels like it works. 'Capital Kind Of Strain' is a soothing stripped down affair, helping me to conclude that the second half of the album is much less commercial than the first; almost seeming to be totally different records. The first is much more summery and sunny, whilst the second half seems more introspective and deep. A good effort, but there's a lot more filler than there are really good songs on 'Future Perfect'.