The
Double’s ‘Air’ slighly
flawed yet engaging
By Adam Pringle
Online Forty-Niner
Contributing Writer
Brooklyn indie rockers the Double have cited a wide variety of influences ranging
from the Beatles and the Velvet Underground to roots reggae legend Horace Andy.
This eclectic mix of influences is reflected in the sound of “Loose in
the Air,” the Double’s third album and first for the Matador label.
At the same time, though, the band has a style all its own that places it above
all the musical mag-pies out in the indie rock scene.
Most of the tracks on “Loose in the Air” attempt to combine experimental
rock with hook-laden melodies inspired by post-punk and British Invasion acts.
Although not all of these attempts are successful, the best tracks combine the
familiar with the fresh in a notable way.
Sonically, there is a lot going on throughout the course of the album: distorted
guitars, feedback, vintage keyboards, electronic ambient noise vaguely reminiscent
of dub reggae and even the occasional use of tambourines, perhaps inspired by
mid-’60s folk rock.
Steve Revitte’s production is spacious almost to the point of being cavernous,
and it allows all of the album’s sounds to come together into the sonic
equivalent of a panoramic view.
These musical elements combine with inward-looking and cryptic lyrics to create
an atmosphere of dread that lingers throughout the 10-track album.
Ironically, the feel of the album is often very claustrophobic despite the expansive
aural atmosphere it presents.
This everything-but-the-kitchen-sink approach in sonic presentation works primarily
because of the band’s musical chops. To put it simply, this band can flat-out
play, from Donald Beaman’s discordant yet textured guitar riffs to Jacob
Morris’ ever-changing keyboard lines to Jeff McLeod’s powerful and
well-placed drum hits.
The album opens with “Up All Night,” a driving mid-tempo number that
combines primal intensity with a melodic sensibility. This track is strongly
reminiscent of the Doors in a number of ways, particularly its mystical feel,
calliope-like keyboards, and singer
David Greenhill’s Jim Morrison-esque vocals. However, the song distinguishes
itself from anything in the Doors’ catalog by including chaotic explosions
of crunchy guitar riffs.
“
Idiocy” beautifully contrasts and combines thick and creamy keyboard riffs
with screeching guitar feedback into a nice two and a half minute pop package. “Icy” has
a gentle stop-and-start melody that chugs along while a tambourine unabashedly
rattles in the background. “Ripe Fruit” is a slower number that showcases
Greenhill’s fragile yet painfully sincere and soulful vocals.
The weaker tracks on the album are not terrible, but they do not work as well
because they are less memorable musically and lyrically. They give the impression
that the experimental and pop-oriented elements canceled each other out, resulting
in insignificant songs that seem to run together.
“
In the Fog” is an instant classic that is certainly the best track on the
album. With its spare and beautiful piano melody, melancholy yet optimistic lyrics
and subtle use of background noise, the song has a timeless quality that transcends
it above the rest of the album’s material. Greenhill’s weary and
aloof vocals also perfectly suit the poignant feel of the song. The end result
sounds like a later period John Lennon ballad (something along the
lines of “Imagine”) sung by Lou Reed.
Although the Double certainly seem comfortable on the album’s more pop-oriented
tracks, they also appear to be fighting the impulse to indulge themselves in
free-for-all experimentation.
They finally give in to their desire to go past the five-minute mark on “Dance,” a
sprawling and messy track that is heavy on drums, guitar feedback and pretension.
The track wants to say something important, but little is said in its disjointed
musical structure or vague lyrics.
It doesn’t help that Greenhill’s lyrics are heavily overdubbed, creating
an exaggerated echo effect.
“
Busty Beasty,” the album’s closer, is a beautiful swirling mix of
fluffy synths, rattling percussion and a heavenly strumming that sounds like
a harpsichord.
The lyrics do not make sense, but it doesn’t really matter because it is
a tasty sonically layered treat that showcases the band’s impressive musicianship.
In a sense, it is an encapsulation of some of the album’s main strengths
and weaknesses.
Although a number of tracks do not hang together very well, the Double’s
combination of experimental elements and accessible melodies makes “Loose
in the Air” a worthwhile listen.
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