Julia Conny
05/22/07, 12:06 AM
In Letters – An Exit Through The Clouds
Record Label: Unsigned
Release Date: March 2006
My brain is squeezing out my ears when I think about An Exit Through The Clouds, and really, I think I’ve put way too much effort into this self-released Minneapolis full-length from In Letters. There are two conflicting lines of thought making their way through my lobes and cortexes. Let me explain: in one aspect, In Letters is deep in possibility. On the other end of the sonic spectrum, In Letters plays a more primitive and basic Midwestern hard/emo rock. I’m really forked-in-the-road, especially when I try to decide if I think An Exit Through The Clouds is either boring or genius.
Often times, the arrangements and instrumentation have difficultly meshing. Skyler Moore’s vocals on “Welcome” are snuffled under sheets of constant drum fills and a shallow atmosphere. Still, the guitars are patient and second-guessing. Sometimes the hesitation works and sometimes it doesn’t. There are heavy takes from a Diary Sunny Day Real Estate and The Promise Ring ideas; it’s just that In Letters may be a decade too late. This is a good or bad thing, and once again, A Exit Through The Clouds presents another conundrum.
Whether or not they are stale within their own time, there are instrumental takes, like the end of “In The Sky,” that are just really experientially beautiful. After the big and stacked choruses, In Letters softens up and flashes its vulnerable flesh. Head down and self-pitying verses scoot the band back into their hermit shell. Timid moments like these fashion (“More Is Less”) Moore’s vocals like Jeremy Enigk; the rest of the song is pretty good too. The guitars are primed and slicing, a distinct sound that builds upon its own momentum – this makes the endings of most full-sized and significant. Most of the album follows that style. What was bad meshing before is suddenly meshing better than other mesh-master instrumental bands. Even if vocals are jagged and “independent,” if I might, that’s in the respect that they should be - even some of the better singers in the world were known for not being that good of singers, anyway. It’s like the whole package is just waiting for me.
Then how come I’m still not sold? The production is remarkable for an independent release, and every strong moment and special echo is brought to the front. The last track and hidden tracks are overlooked princesses. But I think this might be the answer: With every declaration of praise comes an equal taste of distaste. Like I said before, this is an experiential album (or transient – that’s what the band calls it), and it’s difficult to lose yourself as literally as possible in these 11 tracks. Does the good out weigh the bad, or vice versa? Well that’s a whole other conundrum.
Record Label: Unsigned
Release Date: March 2006
My brain is squeezing out my ears when I think about An Exit Through The Clouds, and really, I think I’ve put way too much effort into this self-released Minneapolis full-length from In Letters. There are two conflicting lines of thought making their way through my lobes and cortexes. Let me explain: in one aspect, In Letters is deep in possibility. On the other end of the sonic spectrum, In Letters plays a more primitive and basic Midwestern hard/emo rock. I’m really forked-in-the-road, especially when I try to decide if I think An Exit Through The Clouds is either boring or genius.
Often times, the arrangements and instrumentation have difficultly meshing. Skyler Moore’s vocals on “Welcome” are snuffled under sheets of constant drum fills and a shallow atmosphere. Still, the guitars are patient and second-guessing. Sometimes the hesitation works and sometimes it doesn’t. There are heavy takes from a Diary Sunny Day Real Estate and The Promise Ring ideas; it’s just that In Letters may be a decade too late. This is a good or bad thing, and once again, A Exit Through The Clouds presents another conundrum.
Whether or not they are stale within their own time, there are instrumental takes, like the end of “In The Sky,” that are just really experientially beautiful. After the big and stacked choruses, In Letters softens up and flashes its vulnerable flesh. Head down and self-pitying verses scoot the band back into their hermit shell. Timid moments like these fashion (“More Is Less”) Moore’s vocals like Jeremy Enigk; the rest of the song is pretty good too. The guitars are primed and slicing, a distinct sound that builds upon its own momentum – this makes the endings of most full-sized and significant. Most of the album follows that style. What was bad meshing before is suddenly meshing better than other mesh-master instrumental bands. Even if vocals are jagged and “independent,” if I might, that’s in the respect that they should be - even some of the better singers in the world were known for not being that good of singers, anyway. It’s like the whole package is just waiting for me.
Then how come I’m still not sold? The production is remarkable for an independent release, and every strong moment and special echo is brought to the front. The last track and hidden tracks are overlooked princesses. But I think this might be the answer: With every declaration of praise comes an equal taste of distaste. Like I said before, this is an experiential album (or transient – that’s what the band calls it), and it’s difficult to lose yourself as literally as possible in these 11 tracks. Does the good out weigh the bad, or vice versa? Well that’s a whole other conundrum.