ANAHATA

June of 44 is labeled as a post rock/math rock band. Their music is inspired by the band "Slint" and also has some similarity to "Tortoise" at times when they add in some experimental elements. They are originally from 4 other alternative bands, of which I have never listened to, let alone even barely heard of. They disbanded in 1999, shortly after the release of this album, which is a shame, because their music is definitely interesting. They definitely have that math/post rock sound with vocals that are very post-punk sounding. The lead vocalist plays bass, keyboards and trumpet, and yes you do hear that trumpet come in there at times, which makes for a nice change of pace from what you come to expect from this type of band.

A while back, I was introduced to the band by finding a used copy of their EP "The Anatomy of Sharks". I found the EP very interesting and intriguing and decided to check out some of their other music. What I noticed first of all on this album, is that the songs seem to have a similar mid tempo beat which is very pronounced. The vocals are a lot more punkish sounding here and a lot more prominent, but they are also less emotional than on the EP. The music is also more accessible than from what I have heard from them previously.

"Wear Two Eyes - Boom" starts out interestingly enough with an introduction that is somewhat repetitive and vocals don't start until the 2:30 minute mark. The trumpet is featured in this one, probably not as much as I would like to hear, but it keeps the interest high through the first track. However, the same basic beat continues through the next two tracks, with nothing really standing out in these tracks. The beat is solid, but starting to wear thin.

"Equators to Bi-Polar" is the 4th track, and shows more promise as it leads off with a lot of percussion. We finally start to detect some "Tortoise" influence at this point. The vocals eventually join in later, and they are more breathy than previously. This is a welcome change in this track. The trumpet that comes in later is once again a nice surprise and brings in the variety that was needed previously. "Recorded Syntax" sounds more like shoegaze, with a constant tapping beat and non-dynamic vocals. This is a boring song that goes on like this for 5 minutes. The only saving grace is the guitar interplay, but it doesn't last long enough to save this track.

Chiyoko Yoshida is guest vocalist for the next track "Southeast of Boston". She sings along with the lead singer and lends some variety to the song. Vibes are prevalent throughout and they give some personality and contrast to the song. But it continues with that shoegaze feeling and some dynamics would be useful at this point. The vocals are stronger on "Five Bucks in My Pocket", but that heavy mid tempo beat is back. At least in this track, the tempo is accentuated with a wood block at times. Later on, there is a funky keyboard sound added, which livens things up for a short time. This makes for an interesting contrast that I like. It's also more progressive as it continues. Up to this point, there is not a lot of progressiveness to the music.

The last track is also very progressive, and this is what was sorely missed on the previous tracks. Not only is the track over 15 minutes long, but it actually gives back some hope that the band still has that inventive and experimental edge. This is the only track that I would consider math or post rock. The "Slint" inspiration is finally apparent on this song. There is also some time for the track to breathe, develop and leave a lasting impression. The vocals are still without dynamics, but it doesn't matter in this case because everything else is top notch. Around the 5 minute mark, rhythm stops altogether, and things become very psychedelic as the trumpet joins in and echoing guitars flow around the brassiness. Just as you think this is turning into filler material though, things quiet down and become ambient and free floating and slowly fades out. It fades back in soon now becoming very drone-like.

I really miss the dynamics and emotions that were more prevalent in their earlier material. Except for a few highlights, this album is just too accessible, trying to bring post-punk singing into a more radio friendly sound. The last two tracks are more progressive and sound more like their adventurous music from previous albums, but it is too little too late. If the entire album was like the last two tracks, this would have easily been 4 and maybe even 5 stars. As it is though, after going through the rest of the album, you start to wonder if the last two tracks were an accident. Fortunately, having heard the band's past work, I do know that it's no accident. It's too bad that they had to lose the aspects that made their music so interesting previously on their last album. Yeah it's good, but it's just not interesting enough to be higher than 3 stars.