They play fast and heavy, but never break into hardcore, and they play complex rhythms without falling into the pit of pretentious indie rock. They're not afraid of the occasional disco riff, or even using handclaps to help carry a song that really isn't poppy enough to warrant a solid string of handclaps. In this way, with City Of Microphones, Buffalo's The Exit Strategy have created an innovative record that defines the genre of genre-defying.
The good and the bad... it's all the same
The hardest part about this record is finding a way to explain that the record’s most redeeming quality is also the worst thing about it. For such a great record, it’s really hard to get into. City Of Microphones is not a record for everyone, and it's probably not one you'll find that you love at the first listen. It's a bit too innovative for it's own good in that way. However, I do genuinely think it's worth putting some work into, as the rewards for getting into this record are pretty nice.
On first play, it's won’t be easy to wrap your head around the sound as a whole. Instead you're probably going to be attracted to bits and pieces. First there will be the catchy collection of influences that lead to this album - here and there you can here reflections of Fugazi, The Minutemen and jangly guitars a la early Sonic Youth. Second will be the fact that this is a collection of exemplary musicians, they're good at what they do, and due to that, they're way beyond basis three-chord punk rock politics.
Iit’s that pure talent of these guys that makes it a tough one album to follow at first - the lyrics and melodies are a bit too complex to be catchy. But they also never go too far over the listeners head, never getting so far out there that it becomes an album that takes too much work to understand, or one that you have to pretend that you like just to appear hip. It's genuinely good, full of energy and full of exciting details for true fans of high-energy music that don't rely on fist-pumping anthems or catchy lyrics and choruses to get their blood flowing.
Now that I’ve beat that point into the ground, let me get on with the record’s high points. The album gets hits you fast and and early, with “X-rays”, the album opener that hits you with an extended driving beat from drummer Tim Turcott, and then throws in a high-energy rock and roll whirlwind courtesy of his bandmates. City Of Microphones then starts to lead you down a noisy winding road of high-energy sludge (“Big Gunpowder”), disco guitars on top of blasting bass lines and decidedly un-disco lyrics (“The First The Finest The Future”), misplaced handclaps (“All Circuits Are Dead”) and a ton of noisy songs that also benefit from – and fall victim to – the band’s talent.
Like I said, it’s a difficult album to listen to at first, and an even harder one to review. If you do check it out, give it a chance. It’s like learning to drive a stick – not something everyone gets the hang of, and even if you do, it’s a personal achievement, not one you learn simply to fit in. If you do give them the chance, though, it’ll only be a matter of time – and a few listens – before you start liking The Exit Strategy. It’s up to you if you want to put the work in or not.
Release Date - February 19, 2008
