L'altra
In The Afternoon
[Aesthetics; 2002]
Rating: 7.1
It seems like the Chicago scene's reach gets bigger every time I turn
around. Since the early 90s, when bands like Shrimp Boat and the
Coctails began to make their marks, the Chicago underground has grown
by leaps and bounds to become one of the largest, most prolific and
inbred indie scenes in the world. It's even begun to absorb bands
and personnel from other Midwestern metropolises like Louisville and
St. Louis, extending absorptive psuedopods outward like some giant
metropolitan amoeba.
And, of course, when these guys aren't recording or touring with
their own bands, they're playing on their friends' albums left and
right, leaving a string of credits a mile long behind each of the
scene's main constituents. Suffice to say that Six Degrees of Fred
Lonberg-Holm isn't a very hard game. Hell, he's even on this L'altra
disc that I'm writing about right now, along with a few other Chicago
scenesters you might recognize, like Charles Kim and Robert Cruz.
And then there's the fact that L'altra shares member Eben English
with fellow Chicagoans Del Rey.
Naturally, the real reason guys like Longberg-Holm get called to play
on so many albums is simply that they're amazing musicians, and
selfless ones at that. On the occasions that you can hear his
familiar cello on In the Afternoon, he plays flawlessly,
never making for the spotlight and stepping aside for the quartet's
full-time members. The only problem with this is that the band
doesn't seem especially comfortable there, and as a result the album
is a bit lacking in conviction.
Though L'altra's penchant for musical understatement is quite appealing,
the humility of the vocals doesn't serve them as well. The male/female
interplay of Joe Costa and Lindsay Anderson is effective to a point, but
they're good enough singers that they could easily make each song more
memorable by merely projecting more and attacking the already good
melodies with more vigor and enthusiasm. I won't dwell on this too much,
as it's likely a concern that many listeners won't have, but for me, it's
the biggest reason L'altra's third album doesn't stick especially well.
That said, the band do manage to conjure an alluring atmosphere for most
of In the Afternoon, creating a series of rich musical tapestries
to back their lazily delivered vocal musings. "Traffic" opens with a wash
of aquatic keyboards and finishes wrapped in a veil of swelling guitars.
Those guitars stick around for "Ways Out," coloring in the song's dark
corners until being overtaken by vibes and violin halfway through. It's
the subtle touches like that that really make In the Afternoon
worth listening to.
Otherwise, the album is basically just a pleasant, atmospheric diversion.
The band nudges the tempo forward a bit on "Black Arrow" and "Broken
Mouths," which features a striking, classically bound piano part that
manages to dominate everything but the drums. In fact, drummer Ken Dyber
(also the owner of Aesthetics Records) is frequently the element that
keeps everything interesting, lending steady momentum to even the most
ambling moments.
The album ends with "Goodbye Music," a stirring instrumental lullaby
that closes the proceedings on a high note. Lonberg-Holm's cello
rides low beneath Anderson's piano, framed by washes of mallet-struck
cymbals and violin counterpoint. If the production were more prominent
on more of the band's songs, they could have something really fantastic
on their hands. As it is, L'altra is a band with obvious strengths and
talent that ought to be more confident in displaying them.
-Joe Tangari, May 21st, 2002