In the blue corner, weighing in at a paltry 153 pounds, we have a cagey veteran. An unknown to most, this fighter has spent most of his career in relative obscurity. He's the thing legends are made of, practically unrivaled in technique and poise yet never big enough to catch the public's eye. The years have treated him well though, as those lucky enough to have seen him fight can attest to his skill and prowess. In the red corner, weighing in at a far more impressive 221 pounds, we have the up-and-coming challenger. A fan-favorite, this rookie's fighting style is surprisingly polished. His delicate footwork is matched only by his mass appeal. He's a pretty boy, almost too pretty for his own good. But at stake here is no championship belt, actually far from it. These fighters have convened for a far different reason, a new-school vs. old-school battle with a band's legacy on the line.
For those wondering what in the world I am talking about, the two fighters are actually one and the same. The crafty veteran is Efterklang of old. Though the days of Springer and Tripper are long behind the band, these releases have stood the test of time. The opponent is the band's latest release, Magic Chairs, an album that showcases a number of different additions to the band's repertoire - which accounts for its overpowering stature. The two fighters hardly share any resemblance; gone are the days of sleek, electronic glitches and into this brave new world come pop sensibilities buried right into the orchestral arrangements.
With "Modern Drift," the young fighter comes out swinging. The track is almost shocking in its immediacy, especially when compared to the band's recent openers "Falling Horses" and "Polygyne." The song is anchored by Casper Clausen's familiar vocals and an undulating piano piece that easily could have been written by Nils Frahm. Not to be outdone, elegant strings and soft horns soon enter the fray. All the while, a firm drum beat stops the song from ever getting overly sentimental. Before we know it, the track has built up from its straight-forward introduction into a rather bombast overture. But while these elements all make for an enjoyable listen, the true purpose of the track is to act as a bridge between the mammoth release of Parades and the much more straightforward Magic Chairs.
The immediacy found in "Modern Drift" is not exclusive to just that song, it actually marks the entire album. While the ensuing tracks show the band has retained much of the same sound from recent releases, Magic Chairs is remarkably more accessible. This will no doubt serve as a point of controversy for fans who thought the last release was a little too cute, since 'accessible' might as well be a four-letter word to fans of experimental music. "The Soft Beating" is as a perfect example of what appears to be a new indie-pop influence. After the opening vocals could almost be mistaken for Chris Martin (a reference I would never have imagined myself using at TSB!), the song turns into an upbeat anthem that would fit neatly in an Anathallo release. "Scandinavian Love" continues this sentiment as its light-hearted nature and playful percussion reinforce the comparison.
But while the masses will praise Magic Chairs for its atmospheric pop sound, the album's true beauty lies in the details. Efterklang has always been known for its intricacies and accents, and this album is no exception: the pulsing horns in "Alike" that act as the perfect complement to simple drum beat; the arresting strings in "Full Moon" that provide a welcomed mystique to the album; best of all, the understated but warm electric guitar in the beginning and ending of "Mirror Mirror" that helps establish the track as one of Efterklang's most stunning songs to date.
Even these enticing accents are not enough to win the day however, as the early days of Efterklang is clearly the victor in this bout. While the band has managed to craft an accessible release that never borders on sounding contrived or watered down, the truth is that Magic Chairs is not nearly the groundbreaking release that Tripper was, making our undersized veteran the winner by unanimous decision. Still, some would argue that when a band has evolved so drastically over time that it is counterproductive to compare them with their past releases, and that argument carries some weight. In fact, I recently read that art critic Barry Schwabsky said while an artist's prior works and biography are certainly interesting, pieces of art should be judged solely on their own merits. In this regard, Magic Chairs should be viewed as a solid release by an undeniably talented group of musicians. The music world could always use more bands willing to experiment with their sound and try new things, making Efterklang's latest release worthy of one's consideration whether or not it can go toe-to-toe with past releases.
-David Boss