By Joe Johnson (The Cascade) – Email
Print Edition: June 19, 2013
After 2010’s Get Sharp debut, the Limousines were a band that had considerable expectations to meet. Having come out with social commentary tracks like “Very Busy People” and “Internet Killed The Video Star,” they brought more than just the typical indietronica pop found in countless other bands.
Now three years later, with the duo of Eric Victorino on vocals and songwriting and Giovanni Giusti covering production, Hush has come out.
Almost as important as the release itself is the fact they’ve made the album entirely on their own, having dropped their record label. They’ve instead raised $75,000 through Kickstarter. The reason they’ve given: any lows over the last few years were due entirely to the recording industry – strongly emphasizing that record labels have no place in the future.
Interestingly, the album’s also a departure from expectations in terms of both sound and lyrics. Almost entirely gone is the energy-driven pop aesthetic. Instead, it’s replaced with gritty synth and the motif of love. Falling just under the 50-minute mark with 13 tracks, it’s a considerable amount of work.
And it’s also an absolute powerhouse of an album.
The ambience for much of the album is set from the first track, “Love Is A Dog From Hell.” However, this is also the song on the album that most resembles The Limousines of old – simply due to its radio-friendly appeal. A story of innocent early love, the vocals are clean, there’s some very nice high-end synth, and nothing too complicated.
The second track, “Stranger,” opens with “Never get sick of falling in and out of love/ with a stranger on the other end of a string/ smiling in a picture glowing on a screen/ she don’t know I’m on the line and listening,” is surprising and turns up the dirtied synth in an enjoyably creepy way.
“Bedbugs” follows and is the story of a breaking relationship. It’s easy to see this being the next single to drop given its pulsing rhythms. Unfortunately, that does also mean it turns slightly more generic.
Things take a turn for the ‘80s on “Fool’s Gold.” This is also where the album really takes off. It’s hard not to be moved by the smoky synth atmosphere, especially when the saxophone kicks in.
That same atmosphere continues to “Haunted.” While it’s lyrically shorter, Victorino is emotionally expressive to the terrors of a lost relationship. And as good as the vocals would be on their own, they’re improved by the beautiful, muddy reverberation.
There’s a certain drive in “Little Space” that just exudes from the core of this album. The dirty synth, ‘80s influence, and progression creates something that’s just hard not to feel in your bones.
Even though so many songs stand out, there are a couple that fall just an inch short, as exemplified by “Undercover.” But after such a song, the album comes right back with something astounding with “Wrecking Ball.” It’s a perfect dance song that keeps within formula. Staying with the up-tempo is “Scream Please” which is simply a warm track to jam with.
However, once “GRB 09042” streams out the speakers it’s obvious there’s more progression happening. It’s light on the vocals as they hover just along the keyboard, and there are some infused hip-hop beats, but it feels like the album has been building to this point. Giusti is really proving his capacity for magnificent layering of tracks here.
“The Last Dance” continues with the hip-hop direction. But in keeping with the integrity of the album, the synth is still at the core. And while it’s a touch darker, it’s largely driven with extremely raw emotion. Lyrically, this is also Victorino’s best work by far.
Following that is “Gimme Control.” Musically, it’s a cross between metal, electronica and ‘80s funk.
But perhaps rightfully, the album closes with “Hush.” It’s not heavy on the lyrics but there’s something unnerving. Partly that’s due to the clean, echoed sound but also to the fact that the song alludes to a particular secret that has to do with the theme of the album.
Rarely does it take one listen to persuade me following a band moving in a new direction. But that can’t be said for what The Limousines have accomplished with Hush. This is one of the most complete and enthusiastic albums I’ve heard in a long time. While their older catalogue was absolutely above average, it was always meddling around in indietronica pop. Progressing over the past few years they’ve crafted something that’s focused and alive and they deserve all the credit.
