It would not be a stretch calling Now It’s Overheard’s lead vocalist and multi-instrumentalist, Andy LeMaster a 21st century indie version of Butch Vig. What with Lemaster’s booming behind the scenes work with R.E.M, Bright Eye, Drive By Truckers, Azure Ray and a host of other Saddle Creek label mates, and his successful proprietorship of Chase Park Transduction Recording Studio, he is a veritable Athenian (Ga.) producing maestro. LeMaster (ironically, this is his real moniker) like Vig, was not satisfied with simply making other acts shine, he sought his own glory behind the mic; and in true kinship to Vig, LeMaster succeeds in creating exceptionally affable music, but not quite surpassing the triumphant heights of all the bands that he had formerly produced.
On Now It’s Overheard’s third full length album, Dark Light Daybreak, LeMaster predictably maintains control in the studio, assuming responsibilities on vocals, guitars, bass, synths., electric pianos, organs, beats, percussion, and programming. The rest of the “backing” duties are dished out by Azure Ray member’s Orenda Fink on bass, keyboards, trumpet, vocals, and Maria Taylor on keyboards and vocals. LeMaster’s lifelong cohort Clay Leverett rounds out the quartet on drums. NIO’s resulting studio output relies much less on the ominous synthesizing sounds (reminiscent to Saddle Creek comrades The Faint) that oozed out of their previous outing, Fall Back Open, and takes bolder jaunts into a layered, textured realm, evocative of 90’s Brit-Pop and the anthemic grandeur reminiscent of a pre-Joshua Tree era U2.
LeMaster, at his best, sounds remarkably like one of my favorite gazer-pop bands of the 90’s, the swirling Swervedriver. He manufactures “shoegazing- lite” songs that maintain a sensible edge, conceivably ready for arena size audiences. “Let The Sirens Rest” a drone and unassuming number that builds momentum through rousing digital keyboarding, offers up a viscerally delightful open, “Walls” with its glitchy, wall of strumming guitar and beguiling harmonies is a tune that cannot be forgotten. “Let Up,” an acoustically driven ditty, thrusted by hand claps, and an extremely danceable drum beat that lurks from underneath, can be accurately labeled as a James’ tune on steroids.
The real problem with the majority of these songs is that they just somehow sound flat. LeMaster, at his worst, sounds like a melodramatic version of Spandau Ballet or The Human League. I have this image of LeMaster staying in his studio each night until the wee hours of the morning, manically editing and re-editing each of these tracks on Pro-Tools, attempting to perfect his brand of Neo- New Wave. Songs like “Believe What They Decide” / “Night Vision” /“Type A” all attempt to reach great heights, but honestly fall short; All coming off as dull and overly dramatic. Perfect for an 80’s teen drama.
When it is all said in done, Dark Light Daybreak is not a horrendous album. Matter of fact, I am positive that the retro, synthesizer fused, Brit Pop obsessed, sounds that emanate from this release will befriend many. But, let’s be honest with each other, it ain’t no, I’m Wide Awake and It’s mourning. |