Autolux made an impressive musical statement with their 2004 debut, Future Perfect. These guys were able to make ferocious noise and successfully gel it into catchy songs. Drums were as loud as cannon-fire, guitars blazed viciously and there was a cheeky sense of insanity in it all: they could sing about stolen planes crashing, and then follow with a playful “doo doo doo” between the duel vocals of Eugene Goreshter and Carla Azar. Somehow it all sounded perfectly natural to their leftfield sound. Comparisons to My Bloody Valentine were fitting, not just in the distorted guitar effects that Autolux utilised, but also apparent in the intimate interaction between a key male and female vocalist; all evidence on Future Perfect suggested that these guys could be the new Kevin Shields and Bilinda Butcher.
It’s clear that on Transit Transit, Autolux wanted to discard this raw power and follow a more melodic, sentimental route. Eponymous album opener “Transit Transit” sounds like something Sigur Rós may release if their next album ever comes to light. There’s soft piano keys, angelic vocals that rise and fall elegantly and subtle background percussion to allow the song to drift away as if on a dream. Fans of Autolux’s debut will likely be shocked at the radical shift in sound on display. Although Autolux’s tonal change can be lauded, it does raise one key question – this early into their career was it necessary to remove a lot of the impulsive noise of the debut, which likely attracted fans to their sound in the first place?
If Transit Transit makes one mistake, it’s that there are a lack of catchy choruses on display. The first half of Future Perfect was responsible for the wonderful “Turnstile Blues,” “Angry Candy,” and “Blanket,” to name a few. In comparison, there’s a clear decrease in song-writing on Autolux’s sophomore album. There is a bigger emphasis on experimental noises within these songs at the expense of genuine ambition. Vocals are too often spoken rather than sung; tracks like “High Chair” are actually quiet and melancholy, with whispered vocals and not a guitar in sight. On the other hand, perhaps Autolux’s worst cut ever exists in the form of “Headless Sky,” which sounds like the rehearsal of a school-band still learning their instruments. The basic guitar riff has to be heard to be believed; this band once created addictive, raucous music, not amateurish noise. It may be the intention that this album be more contained than their previous offering, but almost every song on Transit Transit sounds far too timid for a band that appeared quite insane and wholly other on their debut.
“Kissproof” sounds reminiscent of what Autolux once represented: wonderful noise with their excellent vocalists chanting over the top together and some addictive experimental riffs. Unfortunately, not enough of Transit Transit is performed in this way. Autolux have lost much of their charm on their second album by making a set of songs that, although gelling together consistently, rarely offer anything in the way of a catchy tune or even a clear single. For a band once so embracing of noise and loudness, it’s hard not to be disappointed by their new musical direction: quiet, sombre and just a little bit boring.
