Atombender - "Wait of the World" album review

I listen to a lot of music - an assorted, plethora of tune-age of eclectic genres - dating back years. Of the "rock" variety (concerning which we often sub-categorize endlessly ad infinitum), when it comes to albums there are a handful of qualities which make the artists' work stimulating for me. Typically I'm simply looking for something that is... 1) Interesting. From the "interesting" plank I move into the subcategory of it being... 2) Moving.  At this juncture, I'm hoping the collection of songs will be 3) Continuously play-worthy (re-spinnable). Maybe it's needless to say, but I've listened to literally thousands of albums I've found to be interesting, I've listened to hundreds I've found to be moving - but then there's this 3rd category, where the work is interesting, moving, and even worthy of many, even countless, re-spins.


Without a doubt, the indie pop-punk band Atombender's recent release "Wait of the World" has already found its way into that third category for me.


So, utilizing an Aristotelian, 3-point polemic format (along with some cheese and crackers)...


From the perspective of an initial listen, there are countless qualities WOTW has which are really interesting. The songs have numerous catchy moments, plays-on-words, abrupt energy explosions as well as direction changes. The horn and retro-synth blend is more regular in this full-length offering than in their previous EP - as well as being even more enjoyable. The melodies, hooks, and harmonies are all packaged in a unique way and are right there for the taking. From the sneakily complex opener "Carpet Hearts," to the straight-forward, MXPX-like-punk-drive of "Back to the Basics" - to the playful, almost Dylan-esque lyric format of "Curse My Metal Body" (with the cynical, repetition of "everything that's beautiful is gone") - A-Bender's new album punches you in the mouth at your first point of exposure.


The album, furthermore, is also very moving. WOTW's lyric content is chock-full of life dilemma doubts and spiritual pilgrimage signposts. This becomes evident as one gives a more careful re-listening to tracks such as Amputations, US Hwy 30, Sinkhole, Great Lakes, Weight and Sea, and Ad Astra Per Aspera. I'll admit I'm a bit of a sucker for location/geographical references in songs and, well, this album has them. I'm close to certain "Sinkhole" is about some college town known as Ames, IA, and these types of references give the entire work that sort of "Asbury Park/Thunder Road" - or even Sufjan Steven-ish "Illinoise" vibe. For the record, I love that vibe - especially when, as in this case, it seems to be very genuine. Unlike some of these others, however, WOTW interjects glimpses of light as opposed to just ending up at the dark, dead ends of back streets. I must say, this was a pretty adventurous undertaking for a "pop" punk band's first full-length album, but they pull it off - and I mean, they really pull it off. Were it for merely the above reasons alone, "Wait" should be like a shared, time-capsule "magnum opus" for alternative music fans who have any connection to Ames, IA or the surrounding areas.


But the above is not even primarily what I like about "Wait." The album is also ridiculously re-spinnable. In just a handful of days since its release I think I listened to it something in the neighborhood of twenty-five to thirty times. I just can't seem to get enough of it. I've often asked myself what it is about certain albums that are able to find their way into my third category? To some degree, it's subjective - and replete with intangibles. However, I continue to explore some theories. Of course, the album needs to be interesting, and moving - that's how it got this far on my spin-list. But it also needs to be continually interesting - even progressively so. I see much of this having to do with fine-tuning choices being made about songwriting, arrangements, and production. In the case of WOTW, there are a myriad of delightful nuances within these categories which stand out. It's pretty remarkable to this reviewer that an indie band's first full length recording could exemplify such mature songwriting. After multiple spins, one becomes more and more aware of the diversities in the song structures - along with the variations and dropping in and out of vocals/instruments in the arrangements. Just explore the track "US Hwy 30" several times (again, love the geography reference) and I guarantee you that, aside from the fact that on a surface level it's a fun, catchy song - you'll hear different, enjoyable nuances with each and every intake. Focus only on the instruments the fourth (or seventeenth) time through, and you'll notice a staccato, popping synth sound in spots you'll swear wasn't there your first couple of listens. Savor the unexpected chord progression just prior to the terrific closing section, and you're likely to fall in love with this song as much as I have. This song is no exception, however. Essentially, the whole album is this way. From the vocals echoing the infectious, but initially subtle synth-riff in "Great Lakes," to harmonies bouncing from being unresolved to resolved, to lyric lines which remain unresolved - the album toys with the listener in wonderful ways. Both the band and the Des Moines studio guru Griffin Landa are to be commended for the production being professional, but not too glossy - for being well-thought out, while remaining rough around various edges. The vocal harmonies are tight and yet markedly "punk" (is anyone else like me getting a little annoyed of hearing sweet, over-reverberated Beach Boys-like harmonies on "punk" albums? Sometimes it seems as if "pop-punk" has completely "popped"). "Wait's" keyboard usage gives one the feeling someone just dusted off an old ARP mono-synth and ran it through a little guitar amp. Trust me, it's an exceptional feeling, and I wouldn't have it any other way. Lyrically, the album pours out meaningful, disclosing emotion while still maintaining a cryptic mystery which keeps the guests wondering (or "waiting?"). A prime example is the song "Night Guard." The words feature the delicious combination of being simple yet strangely opaque. The tone is thoughtful, yet haunting. The observer might be moved to reflection, or she might just get a little creeped out - or even experience both simultaneously. Aside from the fact that the band stretched themselves into attempting to write this slowly crescendo-ing/abruptly-ending piece reminiscent of perhaps U2/Coldplay - they also twisted into it into their liking with a powerfully placed voice effect, background primal expressions, and loads of spiritual angst. With Rohlf's lead vocal sounding eerily reminiscent of the old post-punk singer Mike Peters of the Alarm, and with the production still remaining raw, the song is like Arcade Fire meets The Clash accompanied by Modest Mouse - along with a brief shade of... Pink Floyd. All that said - incredibly, it works. I mean, it works magically. Along with additional, indefinable intangibles - the song almost seems to have a kind of staying, replay-ability of U2's "One." Yeah, I know - that's a pretty bold thing to say, but I'm telling you the song is that good.


Although I consider "Guard" to be a high point track, every song on WOTW grows stronger through repeated spins so that by the time the listener adventures through the anthemic group voices of the closing number (Ad Astra Per Aspera) he wants to play the whole thing again - without waiting (weighting?).


I have no intention of "rating" albums/books on this site, so if you're not completely certain what I think about    Atomender's WOTW, read the above review again. Or better yet, pick up the album and listen to it about thirty times for yourself.


-PS

Atombender "Wait of the World" in numerous formats available at Bandcamp:
http://atombender.bandcamp.com/album/wait-of-the-world

                 Atombender promo photography by Matthew Smith of The Beautiful Voyage
                 http://thebeautifulvoyage.com/


                 Atombender cover art by John Rohlf graphic design
                 http://www.jonrohlf.com/




                 Atombender on Facebook:
                 http://www.facebook.com/atombenderband
 
                 Atombender Facebook band page:
                 http://www.facebook.com/atombenderband#!/atombenderband/app_178091127385