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A recent surge of electronic-based independent music has marked an absence of some of the most basic elements of bands. Guitars, drums, bass – once the staples and centerpieces of bands have played second fiddle to the synthesizers and keyboards, which once functioned as little more than the extra bells and whistles to a song. Electro and synth-pop inspired music can be found at every corner, from the underground to the mainstream airwaves. Like all trends, however, the constant barrage of the genre can begin to wear thin. That’s where Monahans step in. Amidst bands with engineered, electric sounds, Monahans’ second album and debut for Misra, Dim the Aurora, takes a back-to-basics sound as simple and secluded as the West Texas sand dunes that the band is named after. Monahans has wholly encompassed the traditional American rock, while simultaneously making it relevant and fresh for a modern music scene.
Although Monahans have all the elements of a typical alternative rock band, the group’s centerpiece does not rely in a brooding, lead singer and guitarist, but rather circles around the drumming. Songs like the opening jaunt “It’s Enough to Leave You,” are tailored to fit Roberto Sanchez’s drums, which in this case have a punchy persistence. At times, the drums forcefully dictate the direction of the song, dragging along guitars, bass and even vocals as back-up. Even on slow-tempo songs Sanchez takes a prominence that, at the very least, is on par with the guitars. This unique focal point serves as a double-edged sword, sometimes masking worthy counterparts. Sparkling guitar hooks and soaring vocals peek out from behind preemptive drumming, as on the title track and “Fit for Fire,” where lovely chorus harmonies and Greg Vanderpool’s warm vocalization steal the lead, if only for a brief time.
There is a sprinkling of instrumental breaks throughout Dim the Aurora. While these provide breathing room, they can quickly turn into a need for a track skip. The first break, “Night #3,” begins as a frantic melee of sound, but quickly loses its mystique with the realization that the entanglement of instruments is somewhat repetitious within itself. The second instrumental pursuit, “Over Fields,” calls for lyrics over its simplistic rhythm, but receives no backing aside from tribal hums. There is anticipation throughout “Over Fields,” a preparation for a take-off into something more that never comes. The song remains singularly leveled, remaining almost virtually the same at any given point in the song. Beginning to round out the album is the 21-minute, all instrumental voyage “Terrene.” Although a nice thought “Terrene”, which easily comprises one-third of the album, is not a song as much as a random cacophony. The length works against Monahans further, as the 21 minute time frame gives listeners a few moments to contemplate the sure greatness of the closer, which, despite its thoughtful ambience, is not necessarily worthy of such a build-up.
Dim the Aurora personifies all facets of alternative rock, a move into more driving territory beyond the ambiance of debut Low Pining or country bend of their previous Milton Mapes efforts. Their lonely, gruff callings are effortlessly charming, and provide a refreshing break from the over-engineered masses, and what is maybe a little too much confidence in the appeal of one-dimensional tunes can be easily forgiven by the cleanly executed alt-rock goodies.
Websites:
www.monahans.net
Myspace
