| Review: Rush to Relax —Eddy Current Supression Ring |
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| Blogs - The Intruder |
| Written by Chris McCoy |
| Friday, 12 March 2010 00:40 |
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Spring is here, and I've got the perfect record for it.
Rush to Relax, the third album by Melbourne, Austrailia's Eddy Current Suppression Ring (whose association with Goner Records earns them an honorary Memphis pass) is the sound of a band stretching out and coming into its own. The elements are essentially unchanged from the first two albums—ringing guitar tones, a rock-solid rhythm section, and singer Brenden Suppression' wry, Aussie scratch—but this time, they are deployed more confidently. As on "Tuning Out", the band is unafraid to explore an idea as far as it will go, even if that means exceeding the six-minute mark. Where on their last album Primary Colours, guitarist and soundmiester Eddy Current seemed obsessed with finding just the right balance between scuzz and melody, on Rush to Relax he allows more color to seep into the band's stark sonic palette. This magnifies the effect of simple moves, so that something as simple as hitting a delay pedal for some heavy echo or throwing in a little organ takes on epic proportions. And it certainly doesn't hurt that the band is as tight as a drum, moving as one but sounding fresh and alive on every cut. Suppression's lyrics are simple and lacking the least hint of pretense. Mostly, he keeps it simple and to the point ("Second Guessing"), and his gruffness doesn't even bother to conceal the vulnerability underneath ("I Can Be A Jerk") Bob Dylan he ain't, but he doesn't need to be. His job is to set the tone of minimalist fun—and if there's one word that describes ESCR, "fun" is surely it. Enamored with a Tom Verlane jangle and sheer forward momentum, they're kind of the band you wish The Strokes had been. And as the "Wipeout"-infused title track winds down into an extended coda of surf sounds, it's like the boys are inviting you to their vision of paradise: Sweaty, spent, watching the sun rise over an Australian beach with beer in hand. |
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2010
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