For lovers of atmospheric music that focuses less on the magic of words and more on the haunting celestiality of sound and melody, Conditions, Australian band Temper Trap's debut album, will become a fast favorite. In 10 short tracks, the Melbourne-based country and church-soul-inspired rock group prove that they have perfected the combination of technology and pure instrumentation, using muffled falsettos and faded orchestration to set an unwavering and ghostly tone sure to captivate any listener's ear.
Most impressively, Conditions seems to recapture the old pop sound from decades past, setting up a sick retro vibe that doesn't sink into the realms of cheesy or kitsch. Bits and pieces from disco and soul peek out from corners, and techno-tastic late-pop makes some cameos, but the album as a whole still seems fresh and contemporary enough for a generation of listeners looking out for innovation and surprise.
Conditions commences with "Love Lost", a soothing quasi-ballad about, well, lost love. Sporadic percussion by drummer Toby Dundas and simple instrumentation by bassist Jonathan Aherne keep the short opener interesting, sinking into a sweet bridge featuring some excellent playing from lead guitarist Lorenzo Sillitto.
"Fader," the album's sixth track, picks up the pace, utilizing a fast rhythm and energetic drumline that sends the listener back to the best of the 1980s pop scene. The chorus's vigorously catchy hook is a welcome electric spot in the sea of Conditions' softer songs, but not once seems over-accelerated or tiring.
Conditions' top offering is its third track "Sweet Disposition," which listeners may remember from the recent indie-tastic film and awesome Zooey Deschanel vehicle, (500) Days of Summer. Echoed vocals, tight instrumentation and a hollowed guitar hook paint an ethereal picture of love, lust and reckless abandon, all wrapped into one.
The opening bars recall sunsets over 1970s beaches and Don Henley's infamous boys of summer stalking girls in t-shirts and Wayfarers. The track powers up further along, sparking an electric energy that grabs the listener and carries him or her through its seductive marathon. Few contemporary songs feature such supersized, sultry zing, which is no small feat for a group of hesitant first-timers.
Other tracks of note are "Science of Fear," the album's second-to-last song and second speedy offering. "Fools," a softer ballad that follows the fast-paced "Fader," recalls blue-tuxedoed high school dances and sparkling disco balls, while "Down River,"
Conditions' second track, seems more in line with modern bands like The Maccabees or Bertie Blackman, further highlighting the album's ability to mesh the old with the new.
Conditions' weakest point, especially for listeners who hold words in high (or highest) regard, is that, while vocalist Dougy Mandagi has a pleasant, Motown-esque voice, and the music itself is of some strong quality, the lyrics are, frankly, terrible. The apex the bridge from "Love Lost," for instance, is: "Love was lost, and now it's found."
Other tracks feature gems like "If living means I'm dead here, come hurry and resurrect me," (from "Resurrection") and "Ooh . . . Lady, you took your soul and left you out to dry," (from "Rest"). Perhaps some less-clichéd and more amped up songwriting would make Temper Trap's next album an absolute masterpiece - regardless, check out Conditions if you're a listener looking for something summery and fun.
