BATTLES: GLOSS DROP
[rating: 4]
BATTLES: GLOSS DROP
LABEL: WARP RECORDS
RELEASE DATE: JUNE 6, 2011
How many bands can you think of that lost their lead singer and didn’t completely fold? Probably not many. But for Battles, the show goes on after the departure of Tyondai Braxton, the central figure of 2007’s break-out album Mirrored. As you’d expect after such a line-up overhaul, Gloss Drop is noticeably different from its predecessor, though many of the qualities that made their debut such a hit are still at play: high energy, strong musicianship, and an abundance of addictive weirdness.
It wouldn’t be fair to say that Braxton’s presence isn’t missed here, because it is. But the remaining members of the band – Ian Williams, John Stanier, and Dave Konopka – have done a fantastic job of brining in outside vocalists to complement their groove-heavy, mathematical-leaning sound. “Ice Cream,” a track that’s been kicking around for a while now, is one of the best examples of this, welcoming Matias Aguayo to the microphone to lay down crisp, almost ska-inspired vocals that wildly flirt with the frantic, rhythmic instrumentation. Later, the band collaborates with Gary Numan, Blonde Redhead’s Kazu Makino, and Yamantaka Eye on the elborate closer “Sundome”. And remarkably, these guest spots rarely sound like guest spots at all. Each of these artists blends so well- maybe it’s the production, maybe it’s the way the record was arranged, or maybe Battles just have keen ears for what precisely fits their aesthetic- that Gloss Drop sounds every bit as cohesive as Mirrored (even if there are less vocals.) It also helps that these featured artists were used in moderation. Only a quarter of the tracks have outside hires and each guest appearance is nicely bridged by the group’s quirky instrumentation, which prevents the album from sounding like an off-beat collaboration.
Yet, while there is no distinctly weak track on the album, there are, at points, moments that repeat, or songs that go on for longer than necessary. To put it another way, at times, Gloss Drop plays like a jam band with experimental, math-rock tendencies. “Futura” is one track where this really jumps out. For more than half it’s duration, the track is intense and gripping. But at some point around it’s final two minutes, the song starts to lose traction. The rhythms and cadences of the instrumentation might actually be duplicating but it sure sounds like that’s what’s happening. By no means does this wound the album as a whole, but it does grow sort of tiresome; just as it can be exhausting to hear a band stretch a three minute song into a 10 minute song in a live setting. It’s a bit of overkill- especially when a track like “Dominican Fade” proves they don’t always need to go the excessive route.
Most bands ravaged by turnover would have simply fallen off the face of the Earth, but it almost feels like the remaining members of Battles thrived on the challenge of picking up the pieces and carrying on. Depending on your own personal metrics, it’s entirely plausible to discover that this record is actually better than the first. It isn’t flawless, to be sure, but Battles have surely survived the wreckage with minimal scarringl with a successful album that asserts there’s more to come.
-Andrew Bailey
