Atlas Crash boasts great sound and production on Driving In The Fog. The makings of some solid full-length albums are already showing themselves in the first few seconds. What presents itself at hand is a short culmination of their best work, three songs that move like the ocean and hold strong like boulders. I’m a sucker for great album art and I’m especially pleased with the relationship between the scene and the general vibe their music exudes.
Shorelines of nature heavy fringe beckon like sirens while songs like “V.O.L.E.” illustrate and narrate the unspoken longing that humanity has for the water. Some of us just don’t know it. I wouldn’t have imagined four men from Paris were behind this record, largely due to how Imade’s vocals aren’t overly foreign sounding and seem to have their own original timbre and inflection, which is a trait increasingly difficult to find nowadays. It coos and glides triumphantly throughout this trio of alternative pop songs.
With a mixture of Coldplay and Arcade Fire, “V.O.L.E.” breaks things open. The drums fulfill a lilting backbeat with great tom play and snare alternating on 4 and 3 so as to make the bridge and chorus move just a little more comfortably. The piano is strong and melodically dictating even more than the guitar that sheens with held chords of faintly crunched attack and fuzzy bleed. I felt that the choral background was the most poignant element feeding the vocals and giving this song a largeness that would have otherwise felt too grounded.
“Driving In The Fog” is a great title and aptly named obviously. This one has a Modest Mouse quality to it that pays compliment most directly to the vocalist’s ability to change his tone to best fit the song. The closing track “Babydoll” is a great marriage of what worked in the prior two, one part alternative, one part post modern. It grows with urgency and drives like a train into the passionate tunnel that is its climax. Atlas Crash provides a wide landing for multiple tastes and I think they’ll find a place in your heart.
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