Blake Solomon
09/14/07, 12:52 AM
Division Day – Beartrap Island
Record Label: Eenie Meenie Records
Release Date: October 2, 2007
The clouds haven’t parted for days. Was the sun yellow or dark orange last time? Serpents and jackals converse in English, but all I hear is a deafening roar. The strength of this undertow is too much; there is no hope for escape. My mind still labors to take everything in. Bodies don’t decay here. No, they lay forever motionless like sleeping bodies treated to never ending dreams. I’m not sure whether I should pity them or envy them. The surrounding mountains blur, fizzle, fade. Reality takes a seat as exhaustion and thirst beckon me. “Come with us,” they say, “Put your hand to the sound.” I ask, “Are you a murder, friend?” Whatever they are, beings, figments, or spirits, they laugh. The joke was lost on me. Everything is lost on Beartrap Island.
See, if bands just send over a bit of inspiration, I won’t be forced to constantly churn out bathroom humor like it’s my job (it should be my job). Division Day have done that and more with Beartrap Island. The group takes moody indie rock - a genre I’m quickly starting to love and, somehow, hate - and infuse much needed lyrical creativity with elegant soundscapes. Produced by Scott Solter and Division Day, Beartrap Island utilizes velvety layers of sound and clear harmonies, which results in some truly harrowing musical explorations. Beartrap Island isn’t a "real" concept album, but each song adds another piece of rough terrain to Division Day’s fantastical map. Go grab your (Golden) compass. I’ll wait.
It might take a while to get your bearings, but once “Catch Your Death” bursts through with hurried cymbal taps and snooty vocals, you’re ready for all that Division Day have to offer. “Lights Out” makes use of a repetitive, ascending riff. The focus is on the instruments, which makes sense, as Rohner Segnitz’s voice is the weakest element of Division Day. When singing softly, like on standout track “Hand To The Sound,” he sounds just fine. But when he gets worked up or begins to wail, like on dance-tastic “Tap-Tap, Click-Click,” his voice changes from sincere to whiny.
“Reversible” may be the catchiest song throughout with its oozing of new wave sex appeal. Following along the same lines, albeit much more energetically, “To The Woods” shimmies and shakes in a hazy, purpleish light. While such accents make my butt look big, the intelligent detail paid to Segnitz’s voice ultimately helps him flourish despite his “technical” difficulties. Beartrap Island is an adventure, but if “Is It True What They Say?” is the hallowed final prize, I’m firing my tour guide. Screechy and pitchy electronic waves sit stagnant as Segnitz refuses all emotion. Then, silence. Silence forever. I feel as if I’ve gone through this whole ordeal for nothing. “Littleblood,” which precedes this track, would have made a fantastic closer. Its indie pop bearings point towards hope and liberation. Instead we are left with despair and nothingness. I’m all for artistic license, but I’m never down for a musical version of “Tune in next week.” A little closure shouldn’t be too much to ask.
Recommended If You Like: Overview, Benzos, leaving no trails, Scissors For Lefty being serious, daemons
www.myspace.com/divisionday
Record Label: Eenie Meenie Records
Release Date: October 2, 2007
The clouds haven’t parted for days. Was the sun yellow or dark orange last time? Serpents and jackals converse in English, but all I hear is a deafening roar. The strength of this undertow is too much; there is no hope for escape. My mind still labors to take everything in. Bodies don’t decay here. No, they lay forever motionless like sleeping bodies treated to never ending dreams. I’m not sure whether I should pity them or envy them. The surrounding mountains blur, fizzle, fade. Reality takes a seat as exhaustion and thirst beckon me. “Come with us,” they say, “Put your hand to the sound.” I ask, “Are you a murder, friend?” Whatever they are, beings, figments, or spirits, they laugh. The joke was lost on me. Everything is lost on Beartrap Island.
See, if bands just send over a bit of inspiration, I won’t be forced to constantly churn out bathroom humor like it’s my job (it should be my job). Division Day have done that and more with Beartrap Island. The group takes moody indie rock - a genre I’m quickly starting to love and, somehow, hate - and infuse much needed lyrical creativity with elegant soundscapes. Produced by Scott Solter and Division Day, Beartrap Island utilizes velvety layers of sound and clear harmonies, which results in some truly harrowing musical explorations. Beartrap Island isn’t a "real" concept album, but each song adds another piece of rough terrain to Division Day’s fantastical map. Go grab your (Golden) compass. I’ll wait.
It might take a while to get your bearings, but once “Catch Your Death” bursts through with hurried cymbal taps and snooty vocals, you’re ready for all that Division Day have to offer. “Lights Out” makes use of a repetitive, ascending riff. The focus is on the instruments, which makes sense, as Rohner Segnitz’s voice is the weakest element of Division Day. When singing softly, like on standout track “Hand To The Sound,” he sounds just fine. But when he gets worked up or begins to wail, like on dance-tastic “Tap-Tap, Click-Click,” his voice changes from sincere to whiny.
“Reversible” may be the catchiest song throughout with its oozing of new wave sex appeal. Following along the same lines, albeit much more energetically, “To The Woods” shimmies and shakes in a hazy, purpleish light. While such accents make my butt look big, the intelligent detail paid to Segnitz’s voice ultimately helps him flourish despite his “technical” difficulties. Beartrap Island is an adventure, but if “Is It True What They Say?” is the hallowed final prize, I’m firing my tour guide. Screechy and pitchy electronic waves sit stagnant as Segnitz refuses all emotion. Then, silence. Silence forever. I feel as if I’ve gone through this whole ordeal for nothing. “Littleblood,” which precedes this track, would have made a fantastic closer. Its indie pop bearings point towards hope and liberation. Instead we are left with despair and nothingness. I’m all for artistic license, but I’m never down for a musical version of “Tune in next week.” A little closure shouldn’t be too much to ask.
Recommended If You Like: Overview, Benzos, leaving no trails, Scissors For Lefty being serious, daemons
www.myspace.com/divisionday