Customer Reviews

Grass Geysers: Carbon Clouds (Dig)

5 star:		(4)
4 star:		(0)
3 star:		(2)
2 star:		(2)
1 star:		(0)

 

 

This album is definitely an oddity. Pop-minded and concise (the album is just over a half hour), yet defiantly unfashionable, it's as though the album is punk rock in the truest sense; the spiky guitars, revved-up tempos, and reckless abandon recall late 70's punk, albeit with irregular guitar tunning, samples, and textures that are signature to previous Enon work as well as frontman John Schmersal's previous group Brainiac. Basically, what it means is that the album is loud, fast, and should you be willing, fun.

Mixed reactions to this album don't come as a surprise, as previous releases like the B-sides collection 'Lost Marbles and Exploded Evidence' and the majority of the last LP 'Hocus Pocus' (released over 4 year ago) lean much more heavily on the electro and dance elements that comprise Enon's varied sound. Those albums now sound subdued in comparison to 'Grass Geysers...Carbon Clouds' strait up rock. For fans of Enon's gentler pop, this album could be alienating, as well as for newcomers who aren't quite ready for something abrasive. Additionally, those not comfortable with Enon's dynamic will sometimes find the transition of vocals duties being swapped between John and bassist Toko Yasunda jarring. However, if you are a fan of aforementioned Brainiac, or of friends and allies Les Savy Fav this could be one of your favorite albums of the year.

The first third of the album works well for setting the pace of the rest of the album. Opening track 'Mirror On You' is has the components of a garage rock song with echoing vocals and fuzzed out bass, but once the handclaps snap in, it proves to be far more dance-able than you could imagine it being, and then it exits without overstaying it's welcome. 'Collete' follows with more psychedelia, with both singers harmonizing on the chorus and a cool breakdown midway through. The third track 'Dr. Freeze' will probably leave the weakest impression with it's springy funk, but it is a good gap between one of the album highlights 'Sabina' which has chiming guitar that perfectly accentuate Toko's verses and proves to be more catchy with subsequent listens.

The middle third of the album actually cranks it up further than the 1st, where most albums tend to sag. 'Peace of Mind' is a rollicking rock song that cools down for it's final verse; leading up to the albums catchiest song yet, 'Law of Johnny Doolittle', which is counterbalanced by distorted vocals and heavy feedback. The hardcore 'Those Who Don't Blink' packs the most adrenaline than the rest of of albums and does an excellent job of pumping you up if you let it, then is followed by what I consider the album highlight, 'Pigeneration'. It's propulsive stomp and slashes of guitar are simply awesome, and features Toko's finest vocal performance to date.

The last third of the album is where it starts to cool down, and consequently has songs that resemble older Enon work more so than elsewhere. Longtime fans might gravitate closer to this material if they're not open to the rest. 'Mr Ratatat' has a cool circular progression and reminds me of garage numbers from Enon's 2002 'High Society'. The whirring synths on 'Paperweights' again is more similar to past releases and is less immediate than other songs featured, which may or may not be preferred. 'Labyrinth' is another bright spot that has another strong performance from Toko and a great build up and release. 'Ashish' finishes the album off with dense atmosphere not explored elsewhere.

Basically, the noise and brevity of the album are somewhat deceptive. The album proves to be surprisingly focused and consistent and is very recommendable for someone seeking a rock album that isn't typical or dull. It may not sit as well with some now, but I believe it will gain stronger appreciation over time.

I'm a newbie Enon fan after seeing them on Youtube and recently seeing them live in Ohio, which was one of the best shows I have seen in years.

This album is unique, interesting and full of energy and inventiveness. It shows a band that is more focused than ever before and writing cohesive rock songs as a unit.

Their best album yet. Highly recommended for anyone that is interested in something new and fresh.

I say this album is just as good (if not better than) High Society (which was epic). Their sound here is less varied and perhaps more straightforward--Enon no longer sounds like 2 (or more) separate bands--than in previous releases, but it's also more cohesive and focused. The album is very solid from start to finish, but I especially enjoy the songs where Toko takes the lead (Sabina and Colette manage to be incredibly catchy while also having great replay value). Don't miss out on this. This could be the most underrated album from one of the most underrated bands.

Get this album and work your way backwards through the Enon catalogue. This is probably their most palatable release from start to finish and represents all aspects of their music fairly well.

I can't tell you whether this album is better or worse if you already like Enon because I'm not familiar with their back catalog. The best songs on this album are bass-driven dance songs, "Colette" in particular although "Dr. Freeze" and "Sabina" and "Paperweights" are also good tunes. The album veers between synthesizer pop and thrashy post-punk, the latter seeming to be heavily influenced by Sonic Youth and the Pixies (e.g., "Mr. Ratatatat" seems like a weak stab at a Pixies song). On neither front are Enon remarkable and worth supplanting New Order or the Pixies on your iPod. But Toko Yasuda's vocals have a certain charm. If you're looking to try something different, this CD is worth a listen. I don't know how it will age but for now it's fun to have playing.

I loved Enon's first few records, and they were a welcome return of John S. after the unfortunate demise of Brainiac. After the disaster that was Hocus Pocus, I lost interest, and this band dropped off my radar (and, presumably, others' as well) with a near half-decade hiatus that saw only the release of a half-baked b-sides collection.

Now they're back, and this sounds more or less like a reprise of some of the stuff off High Society (which was, what, six years ago?) Toko is occupying a more pronounced role, and her electronica-laced, bass-heavy and overlong numbers are interspersed with John S's more spazzy, guitar-driven songs.

There are a few good songs on here, but overall the record lacks variety and range, and sounds just like Enon did during High Society, though that was a much better record.

On a side note, I saw one of their recent live shows, and it had to be one of the worst live experiences I've suffered. A set under 30 minutes, a by-the-numbers rendition of their new album, and absolutely zero stage presence and charisma. To top if off, they seemed hostile toward the audience. There are just too many great bands out there for this to be excusable. If they don't care, why should we?

This is me getting off the Goodship Enon.

From the beginning, you know there's something amiss when this album's hottest track, the opener "Mirror On You", a kind of quesy 13th Floor Elevators meets new-wave mutation, starts fading out at 1:31, just as it seems to get cooking.

Most of the material that follows doesn't fare much better. I love what bassist/singer Toko Yasuda brings to this band, and loved her songs on the last two Enon records. But her stuff on here just doesn't do it for me, specifically the slightly wan electro-pop of "Sabina" & "Colette".

When John Schmersal is allowed to take the lead again, as on "Peace Of Mind", it'll have you jumping around. But again, there's a big section of the album following that track that I can't get into. Things pick up again on the songs "Paperweights" (definitely one of my favorite things they've done), and "Labyrinth", another spotlight for Toko, which builds up slow and rides out on Schmersal's prickly guitar squawls.

Splitting up John and Toko for their respective songs worked better on Enon's last LP 'Hocus Pocus'. It's too jarring here as one singer takes over the next, though I'm sure a lot of these tracks will come off better in a live setting. I'm glad I got it, but this just isn't the Enon album I was waiting years for.

2 1/2

Lazy and hazy sounding release exploits a low-lo fi production to poor results, guided by underwhelming songwriting where Enon can come across as a third-rate Deerhoof, and where the band's quirky and fun eclecticism only appears in the half-interesting latter half.