|On the surface A Lull appear to another in a long line of modern pop bands that use the the studio as an instrument more than, well, actual instruments. While their full-length debut, Confetti, will undoubtedly bring comparisons to the indie favorites Animal Collective and even local up-and-comers Yawn and Netherfriends, A Lull are a completely different animal altogether. Yes, Confetti offers airy soundscapes and trance-like vocal melodies, but A Lull exchanges harmonic loops for a barrage of digital-jungle rhythms that keep their music pulsating with life.|
Though Confetti sounds like a variable mishmash of styles and genres -- spanning from gamut of art rock, ’80s-era electro-pop, industrial and even progressive rock -- A Lull’s musical successes come in the record’s tension between melody and rhythm. For every soaring vocal take, rhythmic movements, whether from a drum machine, computer or analog instrument, are pushed just as loud in the mix to give the music a driving edge.
Underneath these tribal beats and melodic chanting, A Lull adds tiny nuances and flourishes, such as the gentle guitar strums near the conclusion of album opener “Weapons For War,” which adds to the richness of their sound. There are no, excuse the terrible pun, lulls on Confetti. Though some songs begin quieter than others, each track is built like a wave and builds organically into something quite grandiose.
“Mammals” wastes no time powering to full steam with a machine-like noise section, but eases up moments later before morphing into a melodic chorus that melds sparkling and crooked synthesizer lines. There’s quite a bit of a Jónsi influence in slow build introduction of “Dark Stuff,” which gives way to a thick warble of electric guitar over which a trance-like vocal line leads the way to an big, clattering finish.
The take “Water & Beasts” builds off a simple, but very deep, bass drum cadence, it’s the twinkling toy pianos and swirling croon that really push the song near psychedelic territory. One of Confetti‘s strongest moments come in its final track, “Aytache,” which opens with some nearly world music percussion and a fuzzy-thick bass line, which lead the song to a massive vocal section that recalls Tears For Fears in it’s catchiness and power.
If there is one complaint, albeit extremely minor, about Confetti, it’s that the majority of its songs tread in the mid-tempo range. A few more dynamic shifts might fit well in A Lull’s songs, but it’s hardly missed.
Confetti has just the right amount of artiness and accessibility for being rhythmically-based but not a dance record. While it’s melding of genres make it difficult to classify, that opens up many doors for A Lull’s future works. And though Confetti is excellently balanced and a bright starting point, the band’s future will be most intriguing. - Loud Loop Press