Release Date: Aug 3, 2010
Record label: TBD
Genre(s): Pop/Rock, Alternative/Indie Rock, Alternative Pop/Rock
Autolux crawls through sophomore album Transit Transit, paring the exquisite agony of rush hour traffic with Lynchian surrealism. The finely tuned claustrophobia pays high dividends when released in shoegaze “Audience No. 2” and “Supertoys.” However, it’s the stripped-down moments that catch the ear. Carla Azar’s vocals give Yo La Tengo a run for its money during “The Bouncing Wall,” while the ethereal title track’s haunting piano could comfort even the most harried commuter.
The Los Angeles trio Autolux sound like a band out of time. Their first album from 2004, Future Perfect, should have been called “Past Perfect” for the nifty way it channeled the good parts of the '80s/'90s indie rock scene like loud/soft dynamic shifts, murkily distorted guitars, and lazed-out vocals. Six years later, the band is still looking backward on the follow-up Transit Transit.
Famed as scrupulous constructors, Los Angeles trio Autolux take their time to create a distinctive voice without any impulse of current trends. Their debut, 2004’s Future Perfect, came out of nowhere when rock music was still establishing itself as a trusted commodity to conventional ears. At a time when post-punk became fashionable to radio airwaves and garage rock revivalists were beginning to spread like wildfire, Autolux’s indifferent noise-pop proved to be a refreshing concoction of loud instrumentation and soft toned susceptibility.
With six years between their acclaimed debut and the follow-up, one might expect Autolux to either deliver on the promise in the title of their 2004 opus, Future Perfect, or wield a new, fully realized sound. Transit Transit, however, alludes to transition at every turn. Composed of drummer Carla Azar, guitarist Greg Edwards, and bassist/vocalist Eugene Goreshter, the heady trio craft an album that’s not about attaining perfection; it’s about documenting growth, and as such, it encompasses all the things that are part of the awkward transition from wide-eyed apprentice to accomplished veteran.
Do you remember when Autolux released Future Perfect in 2004 and those Azarian drums and those mind-bending riffs and the sheer sparkle in tracks like 'Turnstile Blues' and 'Subzero Fun' grabbed you by the fine hairs on the back of your neck, tossed you over their shoulder, and refused to put you down? Well I hope you clung on to it. I'm going glide gracefully past any and all analogies to Chinese Democracy as I fear Google's search indexing might lead people to believe Guns 'N Roses and Autolux are the same band. We can't have that, no sirrah, we cannot have that at all, least of all when Autolux are already going to get their share of Flaming Torch Treatment for all the non-concern they showed their adoring audience: choosing to cavort with that singer from that band that everyone loves, instead of, you know, dropping us a line about the state of an album that was due out in 2009, I mean February this year.
If what they say about patience is true, Autolux are amongst the most virtuous motherfuckers alive in Los Angeles. Two of its members served in Failure and Ednaswap-- respectively, some dudes who had a cup of coffee in the Buzz Bin with "Stuck on You" after the post-Nevermind boom and the band who wrote and first recorded Natalie Imbruglia's "Torn". Drummer Carla Azar had what was feared to be a career-ending elbow injury in 2002 but a risky surgery and eight screws allowed her to get back on the skins.
Full of implausible leaps of imagination normally reserved for dreams. Paul Clarke 2010 In some respects, Trent Reznor inviting Autolux to support Nine Inch Nails on their 2005 American tour raised more eyebrows than him recording an album at the site of the Manson Family murders ever did. You’d expect an unhealthy interest in bloodletting from a man whose music is an exercise in aural sadism, whereas a fondness for lo-fi experimental pop seems much more shocking.
Â Listening to Autolux is a lot like remembering that one lover whose impact you can never shake. Memories are triggered, the movies in your mind are re-edited the way you want to remember them, and then right when youâ€™re at the height of your sequestered joy, the albumâ€”like that object of your desireâ€”ends. Then you have to wait years to be caressed by the next installment.