Transit Transit

Autolux | Format: Audio CD

Product Details

• Audio CD (August 3, 2010)
• Original Release Date: 2010
• Number of Discs: 1
• Label: TBD Records
• ASIN: B003S897PK
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (13 customer reviews)
• Amazon Best Sellers Rank: #53,551 in Music (See Top 100 in Music)

Editorial Reviews

Autolux (Carla Azar: vocalsldrums, Greg Edwards: vocalslguitar, and Eugene Goreshter: vocals1
bass) produced Transit Transit themselves with Edwards serving as engineer. It was recorded in
the band's studio, Space 23, located near downtown Los Angeles. The album begins with it's title
track, an utterly unique concussion of rhythm, created from a looped sample of an old freezer
slamming shut and a simple round of chords from an upright piano. The hypnotic density of the
vocals and organic futurism of the instrumentation instantly rearranges any preconceptions about
the 'autolux sound'. "Census" and "Supertoys" play like the logical evolution and refinement of
Future Perfect, delivering propulsive grooves and atmospheric chord changes, while "Highchair"
combines a simple, yet effective drum machine beat with tympani-esque tom overdubs to create
an orchestral lo-fi dance track. There is a notable sonic progression throughout Transit Transit:
vintage synthesizers and manipulated ambience glue central song components together, several
tracks are built around piano, all three members take turns with lead vocals, harmonies are
abundant, and there is even a bit of trumpet. Ultimately, 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 (a phenomenon to behgld QII stage) c~ntinue2o n record with
plenty of hook beats - ferocious and delicate, at once.

Customer Reviews

Most Helpful Customer Reviews

6 of 7 people found the following review helpful:

5.0 out of 5 stars Yes, autolux does it again, August 8, 2010

By 

Dave Mackler (Bronx, NY, US) - See all my reviews

Amazon Verified Purchase

This review is from: Transit Transit (Audio CD)

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.

A track by track comparison of two such remarkable albums seems irrelevant, but it is worth noting that everything on Transit Transit is more interesting than ROBOTS IN THE GARDEN and ASLEEP AT THE TRIGGER from the first album. Every new track is multifaceted and is masterfully crafted from a range of ideas.

So, put aside what you were expecting to hear, and embrace this exciting step forward by one of the most interesting bands out there.

1 of 1 people found the following review helpful:

4.0 out of 5 stars Smooth yet satsifying, August 7, 2010

By 

Neuroradiology Bound "beaker" (San Antonio, TX) - See all my reviews

This review is from: Transit Transit (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.

3 of 4 people found the following review helpful:

3.0 out of 5 stars A change of pace, but not as rewarding., August 12, 2010

By 

Anthony Fantano "Anthony Fantano" (USA) - See all my reviews
(REAL NAME)   

This review is from: Transit Transit (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