Future Perfect

The recent commercial success of The Killers, Franz Ferdinand and Interpol surely had label honchos everywhere rethinking their pre-holiday marketing strategies. With the various pop sounds of the late 70s/early 80s being revived, it’s only natural that a few worthy bands get lost in the shuffle. On the now third tier of throwback garage bands we have the Secret Machines, Razorlight, the Futureheads and Autolux.  

The Secret Machines are being called “the new Pink Floyd” and receiving universal critical acclaim. Razorlight recently scored a No. 1 album on the British charts and are touring non-stop with building press in the U.S. Even the Futureheads managed an opening slot on Franz Ferdinand’s latest tour. Seems that Autolux, California’s latest three-piece outfit, are the odd band out with their debut, Future Perfect.

With the strain of a major record contract to consider, bassist/vocalist Eugene Goreshter, guitarist/vocalist Greg Edwards and drummer/vocalist Carla Azar took on press-monger T- (O Brother) Bone Burnett for production (and general guidance) duties. Mixing their beauty-in-noise approach with a firm set of early American alternative rock roots, Autolux spend much of their debut attempting to channel Sonic Youth, My Bloody Valentine, The Smashing Pumpkins and early Yo La Tengo.

Future Perfect spends most of its time concentrating on ambient details and distorted guitar feedback, only to be mixed out of the front in favor of breathy, impassive vocals and ho-hum guitar melodies. Seven of Future‘s tracks stand as auspicious sketches for what seem to be abbreviated songs; and while there isn’t really a single on the album, every song feels artistically abridged and doggedly predictable. “Great Days for the Passenger Element” and “Turnstile Blues,” in particular, are likely to get listeners excited with their softcore-Sophware Slump appeal The four remaining songs - “Asleep at the Trigger,” “Capital Kind of Strain,” “Plantlife” and “Robots in the Garden” - sit limp, thus adding doubt to any of the promise roused by the remaining tracks.

On first listen, Future Perfect is enlivening and rewarding. With repeat listens Autolux begin to sound all too influenced by their favorite bands, and while their talent is apparent, their chances at making a proper go at it on a major label are slim. With fully realized songs like “Great Days,” a more appropriate producer and an artistically free arena to record in, Autolux could do good things. Future Perfect should work well at holding Radiohead fans over until Kid B. Forgive me.     7/10

Written by G. William Locke