Cymbals Eat Guitars was one of 2009's most promising newcomers. Their self-released debut, "Why There Are Mountains" (2009), quickly rose to prominence for its intricately structured songs, impressive instrumentalism and versatile vocal work. The group's latest release, "Lenses Alien," continues this trend, seeing the band expand its sound to encompass darker themes and more involved production.
Like the tracks on the group's debut, "Lenses Alien" boasts songs which frantically shift genres within the span of several seconds. For example, the track "Keep Me Waiting" starts out with a psychedelic noise-rock riff that quickly segues into a pop melody that catches the listener off-guard. The band's musical variety is one of its most impressive traits, but it's even more respectable that they can display the breadth of their versatility in two- or three-minute songs.
"The Current" is one of the most varied songs on the album, and it clocks in at just under three minutes. The track oscillates between wall-of-sound shoegaze guitar work and more rhythmic new-wave guitar lines that keep the song from dwelling on any particular mood or aesthetic. The majority of the track is instrumental, building up to a short, isolated vocal line that concludes the song on an intimate note.
While "The Current" is one of the most contemplative, introspective tracks on the album, it is sandwiched between the pop-rock, Big Star-esque "Another Tunguska" and the acoustic "Wavelengths," making for a unexpectedly confluent section of the album. For a band that varies greatly between styles and attitudes, Cymbals Eat Guitars has a knack for piecing their albums together in a coherent, well-developed way that flows from song to song without a hitch.
"Lenses Alien" features tracks that are, on the whole, far shorter than "Why There Are Mountains." While quicker songs usually capitalize on the concise verse-chorus structure, Cymbals Eat Guitars eschews this approach for the entirety of the album. One of the most enjoyable parts of the album is listening to it for the first time and not knowing exactly where the song is going. It's almost like listening to the progressive rock bands of the '70s, but without the ostentatious instrumentals and the extravagant, feathered hairdos that made groups like Yes so strangely alluring.
That's not to say that Cymbals Eat Guitars is lacking in edge or instrumental ability — they have both in ample portions — but their approach to musical development and theme building is more understated and less contrived than their prog-rock predecessors.
Despite my praise, the album does have its share of shortcomings. The album's opener, "Rifle Eyesight (Proper Name)," is the only long song on the album, clocking in around eight minutes. This sets up a kind of strange dynamic for the rest of "Lenses Alien" because it shows such a different, expansive approach to songwriting that the rest of the album eschews.
While "Rifle Eyesight" is a solid track, it sets up false anticipation for the rest of an otherwise confluent album. The guitars rely a bit too heavily on fuzzed-out tones and wailing for either to retain its full potency. The same criticism can be leveled at a few other tracks on the album as well, but "Rifle Eyesight" displays this over reliance on thrash-out moments most clearly.
That being said, folks with a predilection for noisier music will hardly find this a bad trait, although fans of the group's mellower tracks might find this trend a little unwelcome.
Regardless, "Lenses Alien" is a great album that shows Cymbals Eat Guitars is on the right trajectory. They've been able to keep the elements of their sound that made the initial album so appealing, while introducing new approaches and elements to keep the album innovative as well.
