record review: late of the pier - fantasy black channel

Late of the Pier - Fantasy Black Channel (2008 Astralwerks)
TWO BREADSTICKS

Late of the Pier bring a sound to their debut record that intrigues the listener but ultimately never quite gets off the ground. The band is clearly able to reach a powerful level of frenzy, but it is one that they are constantly keeping in checking by cramming all their energy into a nice, neat package that really cuts the edge off of the whole mix. At their worst, they sound like a version of one of my least favorite bands, Muse, who waste grandiose gestures that impress listeners into thinking they're hearing a lot more brilliant content than they actually are.

Occasional moments of strength appear across the album, particular in spots where a song has gotten off the ground and has a chance to settle in. "Heartbeat" is the clearest case: the opening synths and back and forth harmonies in the introduction don't do the first verse any justice, but is then followed by a guitar clawing around in a corner, trying to find its way out. When we get the second verse in its stripped down form, suddenly things are going our way - some keen guitar harmonies, a shift of gear on the chorus, etc etc.

It's not just the portrait of a band trying to hard, but also one that lacks an identity, mostly in terms of genre. Some tunes end with a break-beat version of the previous few minutes of material, serving to separate the rock and dance elements of this band more than they draw them together. "Broken" is clearly the strongest candidate of a single (and is already playing on indie radio stations), but its tight construction perpetual forward motion are unlike most of the remainder of the record, not to mention the WTF moment that occurs when those breakbeats appear suddenly at the end.

The standout track for the record occurs just near the end: "Mad Dogs and Englishmen" combines an array of British punk and post-punk influences into a spotless production, shifted into hyper drive in its remaining 30 seconds. The influence of everyone from The Clash to Bloc Party is easily evident, and presents another problem in how much LotP finds themselves aping other European acts back and forth, from the aforementioned Muse to The Killers and elsewhere. In combination with their tossing back and forth from rock to dance, there are elements of this record that create a sense of aural nausea (also like Muse) where LotP would have been better off leaving well enough alone. Such aspects of a record make its most brilliant moments not worth the hassle of being jerked around by such confusion. Still, if a cocktail of quasi-prog rock grandeur and basic dance beat interests you, Fantasy Black Channel might serve as a compelling debut to a promising new act.