The record that broke Brooklyn-based indie rockers Antlers, 2009′s Hospice, was simultaneously a perfecting of their early sound and hint of something bigger. The record, which was essentially high concept art-rock approached in a minimalist fashion, ended up doing quite well after Frenchkiss Records cleaned it up and gave it worldwide distribution, earning some of the best reviews of 2009. Now, just two years later, we have Burst Apart, a 10-song make-or-break epic full of grand ideas, surprises and … well … an oft-debilitating problem.
Let’s start with the bad, the blanket issue with this very good record: the production. On past records Peter Silberman (the head Antler) made somewhat lo-fi, modest recordings of songs that seemingly always wanted to be bigger than the limitations of being a struggling band would allow. It was a sound/formula that worked very well for the songwriter, especially on Hospice. For Burst Apart, a record bound to see quite a bit of attention, Silberman could do just about anything he wanted – and thus the sound is different. It’s bigger and cleaner, at times resembling contemporaries like Grizzly Bear, Mercury Rev and even Radiohead. And while the music benefits from the improved recording approach, Silberman’s vocals suffer dearly. Previously buried in the mix and coming off a bit rough, Silberman here almost sounds like a show choir kid, howling away in a sometimes off-putting manner that can only be described as overly dramatic – even effeminate. I suppose the same thing could be said about Radiohead’s Thom Yorke, not to mention Bon Iver’s Justin Vernon, Shearwater’s Jonathan Meiburg and, of course, Antony Johnson, but there’s something about the vocals on Burst Apart that I just can’t get over. It’s almost as if Silberman is attempting to keep his artsy credentials while also taking aim at the abandoned Coldplay fans.
After a few spins I found that Burst Apart’s vocals neither grew on me nor ruined the record. Mainly, I’d been absolutely won over by the compositions on Burst Apart, which are, easily, some of 2011′s most interesting (though never in an Animal Collective/over-the-top sort of way). Best described as “electronic chamber pop,” the sound here is actually quite organic, feeling very hypnotic and dense, at times carrying the songs as Silberman thankfully falls into the background, singing wordless melodies as horns blow in the distance and countless layers of subtle piano and guitar twist into a haunting mix. The playing and mix is very intricate and detailed, and thus a record that rewards familiarity.
Opener “I Don’t Want Love” is a hook-filled left field chamber pop tune that feels very much like the kind of hip song you’d hear during a tender moment on a show like “Grey’s Anatomy” or “Gossip Girl.” If Antlers are destined to have a breakout single, this is very likely the one that will do it. Standouts “Tiptoe,” “Hounds,” “Parentheses,” “Rolled Together” and “French Exit” wisely don’t rely on Silberman’s voice, using vocals only to add to the powerful playing and arranging – not vice versa. Playing these five songs together, outside the structure of the album, brought to mind Sigur Ros, a much different sounding band who have had similar issues with recording and mixing their vocals over the years.
What we end up with is a very good record that could’ve so easily been great. Imagine a bigger, more organic version of Boards of Canada mixed with Grizzly Bear and you’ll have an idea of what the compositions on Burst Apart sound like. Now if only we could mute those cheesy sex vocals – or at least bury them in the mix, similar to how they were treated on Hospice. Find a way to do that and you just might have the best record of 2011 on your hands. Either way, Burst Apart is most definitely worth getting to know.
83/100
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