Let's get this out of the way: it's pronounced "always." Or so says AllMusic.
Every time I think all the life is gone from pop music, something like this band comes along to prove that it isn't dead yet. I don't mean something that sounds like this, but anything that I can be enthusiastic about, even if it's the kind of dark enthusiasm that I got some years ago when I first heard The Cure's Disintegration: something that's really a fresh achievement, something so good that I want to tell people about it. Antisocialites is not especially innovative, just very very good. Rob G introduced me to it, for which I thank him.
In a better world this song would be a hit single:
This is the first track, and my favorite, but only by a very narrow margin. Naturally, I like some of the songs better than others, but I like at least half of them about as much as I do "In Undertow," and the others are quite good. Most are irresistibly catchy, to my ears at least.
I usually try to give any new album three reasonably attentive and open-minded hearings before committing myself to a positive or negative opinion–especially a negative one, because often something that doesn't do much for me at first gets better with more listening. But I liked this one instantly, and have now heard it at least five times with no less pleasure. It's almost hard to believe that guitar-based pop-rock can still sound as fresh as this does.
The singer's voice is a big part of the freshness: it's not spectacular or dramatically emotive or strikingly distinctive, just young and clear and accurate and, well, fresh. It's almost a bonus that the lyrics are intelligible and often clever. In "In Undertow" the speaker says
"What's left for you and me?"
I ask that question rhetorically
and then a bit later
"What's left for you and me?"
You respond to my question metaphorically
Sounds like Aimee Mann, and that's a big compliment.
The album is a bit old-fashioned in that it's short: ten songs of what used to be the typical length of three minutes or so. It occurs to me to wonder whether it was deliberately kept short to be more LP-compatible: at not much over thirty minutes it's comparable to many of the great albums of the pre-CD era. Or maybe they just didn't want to include anything that was less than first-rate. Good decision either way. There aren't that many pop musicians who can keep me interested for the 60-plus minutes that CDs made possible.
Here's a live performance of "In Undertow." I don't know about you but it's somewhat rare for me to watch a band performing without being annoyed by a lot of stagey forced-looking posturing. They don't do any of that, and it's refreshing.
Light On Dark Water 
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