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Transit Transit


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Audio CD, August 3, 2010
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Product Details

  • Audio CD (August 3, 2010)
  • Number of Discs: 1
  • Label: Tbd Records
  • ASIN: B003IXAOQ6
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (14 customer reviews)

Editorial Reviews

2010 release, recorded in the band's studio, Space 23, located near downtown Los Angeles. Transit Transit is propelled by its individual members' strengths, coalescing into beautiful, complex songs. Goreshter continues to innovate his bass style, effortlessly modernizing the instrument's melodic role, while still providing an on-edge rawness and groove-filled momentum. Edwards' guitars serve to modulate the moods throughout the record, constantly evoking feelings found in the space between emotions. And Azar's sturdy, creative drumming continues on record with plenty of hook beats - ferocious and delicate, at once.

Customer Reviews

4.6 out of 5 stars
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See all 14 customer reviews
Better yet, they've made a great one.
Jimmy Penola
SPOTS is a haunting, beautiful song, and an incredible improvement on the melancholy of GREAT DAYS FOR THE PASSENGER ELEMENT.
Dave Mackler
Very rarely does a band come along and, for the most part, create its own sound.
Scott Starr

Most Helpful Customer Reviews

7 of 8 people found the following review helpful By Dave Mackler on August 8, 2010
Format: Audio CD Verified Purchase
Consider this a preemptive strike against the inevitable backlash of the usual complaints: they've been working on this for six years (not the case. They spent much of that time deciding how to release the album), it doesn't sound exactly like Future Perfect. While the second may hold some accuracy, it ignores the exciting leaps forward that Autolux have taken with their sound.

What's new is a significant amount of sparse moments, space unfilled, perhaps you could call it a greater "Radiohead-esqueness," through the use of piano and electronic beats. If the entire album sounded like this, I could understand the complaints, but there are plenty of moments of the old noisy rock-out Autolux as well.

Perhaps the new elements stand out so much, they are off-putting to listeners that wanted Future Perfect part 2. Give these tracks a chance and they will end up being highlights. SPOTS is a haunting, beautiful song, and an incredible improvement on the melancholy of GREAT DAYS FOR THE PASSENGER ELEMENT. THE BOUNCING WALL is a great nod to `60s flavored psychedelic pop. Fans of the British band Broadcast will take note. HIGHCHAIR is built around a hypnotic beat that comprises of electronic and live percussion.

Meanwhile, Autolux continues to combine perfect pop catchiness and propulsive interstellar rock on songs like CENSUS, SUPERTOYS and KISSPROOF. There are wonderful touches, like the spacey effects that come in towards the end of CENSUS and the toy piano that rings out in this midst of the dirge-heavy HEADLESS SKY. The album's beautifully swirling closer, THE SCIENCE OF IMAGINARY SOLUTIONS, is punctuated by jarring blasts of noise at the minute and a half mark, and then it lifts upwards carrying the listener out on a more skyward note than on Future Perfect.
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2 of 2 people found the following review helpful By Neuroradiology Bound on August 7, 2010
Format: Audio CD
The new release by Autolux overall carries on brilliant work set out by "Future Perfect" six years ago...

While the noise and hard charging attitude seems to have mellowed somewhat, the trio seems to have honed their songwriting abilities and appear to have become better musicians in the interim. This represents somewhat of a departure from Autolux's prior work, but while it it is a move away from tonal discordance, this sounds more refined, mature and remains Autolux.

This would be a great debut album for any band and remains a wonderful new step in the evolution of Autolux.
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4 of 5 people found the following review helpful By Anthony Fantano on August 12, 2010
Format: Audio CD
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On their first album in six years, Autolux enhances the experimental sounds they forged on 2004's Future Present. Tracks like Audience No. 2 bring are a real sensory overload, packing the mix with distortion and effects. But the album has a few severe potholes that leave me underwhelmed. Whether it's looping instrumentation or a lack of interesting sounds, some tracks just leave me cold and uninterested. It's nice if you're looking for a friendlier face in this style of music, but I'd rather hear the dangerous side I've come to appreciate from Autolux.

6/10
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1 of 1 people found the following review helpful By Ravi Kahlon on September 27, 2010
Format: Audio CD
I've read most of the reviews out there regarding this record. So be it. Everyone is entitled to their own opinion, but it's up to you to look past genre-specific terms or the newly branded piece of popular consumption ready to be spit out at the end of the meal. TRANSIT TRANSIT is a move for Autolux away from the monochromatic nature (see Audience No. 2 for reference to that on this record) and simplicity of Future Perfect to describe different emotions, a great record nonetheless, and instead this is a move to radicalize their color palette sonically and emotionally to expand on topics of isolation, loneliness, and beauty (at least that's what i get from it).

This record encompasses the true influences of Autolux over the past 6 years, yet it didn't take 6 years to complete. This is the product of years of record company turmoil, sound experiments with what I can only imagine to be walls of effects pedals, and the result is 3 artists/musicians pushing themselves sonically and as song-writers. The opening song (which was also one of the last to be recorded) is built from field recordings, a worn out piano that could only play a few keys well, and Greg Edwards detached vocals "eyes like vinyl, lips like rainclouds, let the future go." That's the introduction to the record. Let go of the strictly Sonic Youth and my bloody valentine references, this band is much more than abrasive noise and expensive effects. Second track "Census" built around Greg's SYR-esque guitar riff reminds listeners that they can still punch you in the face. Eugene sings "It's everything you thought that you'd like, just to wake strangled stars and stripes. You're a paper head on a backbone on fire, always asleep but never tired.
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1 of 1 people found the following review helpful By BHaynes on September 23, 2010
Format: Audio CD
Autolux have kept everyone waiting some time for this new release, but, ultimately, the wait was certainly worth it. One thing that can be said of this album is that it is much more subtle in effect than their last release. I wouldn't say that I like this album more than Future Perfect, but it has gradually grown on me since I purchased it, while Future Perfect almost instantly became one of my favorite albums. One potential reason for this is that I foolishly began comparing it to Future Perfect the moment that I first listened to it. However, this is almost inevitable with a band who has released an album in the past for which one deeply cares. One reason that this album is much more subtle is due the fact that it has an overall more somber, ambient tone than their last release; the loud, distortion- heavy rockers are here to be sure, but they are balanced out by more mellow tracks. The concluding track, "The Science of Imaginary Solutions," is one of the most poignant, affecting songs I've heard in some time.

This band has frequently garnered comparisons to My Bloody Valentine, and that comparison is more apparent here than ever before. The band utilizes conventions from several indie/underground bands from the 80's and early 90's, just as they did before. I don't consider this a bad thing, as the band appropriates these sounds and makes something unique out of them. This allows the band to be quite distinguished from many of the other indie rock bands today. This album is highly recommended.
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