Latest Review: Magic Lantern – High Beams

Long Beach’s Magic Lantern have finally gone and released a new sonic document after what seemed like an eternity of waiting. Eagerly anticipated by those who have been biding their time waiting for the band to get on with their uber limited cassette only and CD-R releases (their Self-Titled CD-R was limited to 30), “High Beams”, the band’s latest opus [...]

Pinback – Autumn of the Seraphs

During my fifth listen to Pinback’s new album Autumn of the Seraphs, I finally realized its flaw – it’s too good, and for that matter Pinback (the immaculate offering of Rob Crow and Armistead Burwell Smith IV) is too damn good. I don’t mean this in the jocular ass-patting way that is used in sports – I’m serious!

Music adorationists (aka, nerds) such as myself have few opportunities to engage in discussions outside the realm of good and bad music. Typically it’s either “this is shit” or “this is great” and while both assertions provide satisfaction, a more fulfilling occurrence is the falter of an artist we love. More than once have I participated in late night (more than slightly intoxicated) debates about the relevance and genius of an artist such as Radiohead (basically Thom Yorke), taking the defensive position even though there have been songs and even whole albums I find many faults with. But that’s not the point. And it’s not the point that Thom or any other artist of his talent would give two shits about my piddling endorsement. The significance is in the chance to distinguish myself from the kudos-spewing masses who couldn’t articulate or quantify their appreciation of an artist if their chance to be on the next “The Real World ____” depended on it.

That’s why Pinback being too good is a problem. I have never had the chance to deride a friend’s musical knowledge and taste using my pseudo-defense of them as a figurative mace. Try as I may to entrap; “Man, have you heard Pinback’s new album, don’t you think it’s a pile of crap?”

“Actually I think it’s pretty great”

“Damn you, I know!”

Seraphs, the fourth full-length release from the San Diego band hits you hard with its opening track “From Nothing to Nowhere.” Lightning fast tempo, at least in terms of Pinback precedent, leads the charge into their trademark chorus of alternating vocal repetition between Smith and Crow, each harmonic jab as sharp as the other. In fact, a kind of tonal boxing match between two equally skilled opponents is what Pinback songs embody for me; two sonic warriors meeting in the ring to exchange 6-string and synth blows. “Barnes” and “Good to Sea” follow the opener with more precision bass-uppercuts and keyboard right-hooks, all amid a floating cadence and a network of methodic vocals. The result is two of the best songs on Seraphs.

At this point in the album Pinback knows you’re hooked, and they lull you into a further hypnotic state with a string of mid-to-slow tempo tunes like, “Walters” and “Subbing for Eden.” I’m not one who tends to skip between songs on an album, picking and choosing, but especially not when it comes to Pinback. In a way it’s a soporific formula, proven successful on each of their releases. They dare you to “eat just one” and they know you cannot. Album oriented songwriting, particularly skillful as Seraph’s is, is invigorating in this time of a reemerging ‘singles’ market, and refreshment is exactly what Pinback continues to provide. Don’t let Crow’s new Rick Rubin look or the Sabbathesque intro to the album’s finale, “Off by 50,” fool you. The mathematical, almost meticulous harmonizing and instrumentation we have come to rely on Pinback for, is here… in spades.

MP3: Pinback – From Nothing to Nowhere