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Purchase at: Insound (Vinyl) | Amazon (MP3 & CD) | iTunes | MOG

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The name might not ring any bells just yet, but chances are that you’re already familiar with San Francisco duo Exray’s; or, at least, with “Hesitation,” one of the many highlights to be found on their self-titled debut album. After first collaborating on the music for a local theatre production, Jon Bernson and Michael Falsetto-Mapp were introduced to Hollywood sound designer Ren Klyce, who years later passed an un-mastered version of this album on to regular collaborator David Fincher. The director then featured an instrumental version of “Hesitation” on the soundtrack to last year’s 200 million dollar-grossing blockbuster The Social Network, and whilst it was Trent Reznor and Atticus Ross’ score that picked up the plaudits (and the awards), Exray’s’ contribution mirrored the overall tone of the film perfectly; a slice of oddly addictive alt-pop steeped in an air of creeping paranoia, constructed by a pair of tech-savvy slackers.

Exray’s is epic in scope, but defiantly lo-fi in its execution. Combining tinny programmed beats with fuzzy guitars and cheap keyboards is hardly an original concept but bands that do it well are pitifully scarce, and Exray’s pull it off with style and aplomb that would make the likes of CocoRosie weep into their thrift-store handbags. If anything, the album invites comparisons to early Eels, or Beck’s Odelay, sharing a musical magpie sensibility that sees dark pop, gentle folk, DIY electronics, Krautrock rhythms and hip-hop beats jostling for attention, often within the space of the same song. But whereas similarly eclectic albums often lose focus after a couple of well-structured tracks, Bernson and Falsetto-Mapp display a seasoned compositional touch, resulting in a debut that is both accessible and engaging from start to finish.

Tapping into an impressive range of influences, the duo attract comparisons to some real heavyweights. Opening stalker-ballad “You Forgot” recalls Tom Waits’ more recent output, with Bernson growling over a Casio-preset bossa-nova beat and squawking Marc Ribot-esque guitars. “Remember Nothing,” with its accordion and melodica hook and spacey FX, sounds like Beirut gone electro, while “Enemy” is like a dream collaboration between Grizzly Bear and the Walkmen. “Hesitation,” meanwhile, calls to mind Kid A/Amnesiac-era Radiohead, sinister Komische synths and fizzing electronics gradually consumed by a propulsive rhythm and howling guitar noise. Admirably, though, the band steer clear of mere imitation, and whilst theirs is a pretty murky world, there is a sense of humour and appreciation for poppy hooks at work that lights up the darker corners.

With additional production from Eli Crews (Why?, Deerhoof) and musical contributions from – among others – the Decemberists’ Nate Query and Fresh & Onlys frontman Tim Cohen, Exray’s is quite a team effort, but whilst less busy tracks like “Stolen Postcard Sun” and “When I Was You” highlight Bernson’s song-writing skills, Michael Falsetto-Mapp’s programming prowess is Exray’s’ real secret weapon. Cinematic soundscapes like “Forest Of Sand” and “Make A Prediction” revolve around his thick, distorted bass-lines and crunchy beats, whilst instrumentals “La Palma” and “Discolandia” see him introduce the kind of scattered rhythms and cut-up sample abuse that wouldn’t sound out of place on a Flying Lotus record. Bursting at the seams with clever and amusing ideas, Exray’s is a compelling and thoroughly enjoyable debut; one can only hope there is more where this came from.

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Tags: Exray's, Howells Transmitter

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