By Jeremy Hallock
By James Khubiar
By Observer Staff
By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
The Crash That Took Me might be a part of a new "art pop" imprint on Idol Records, but Chlorine Colored Eyes isn't a drastic step away from what the band has done before. In many ways, this record is a logical follow-up to the band's debut, Orchestrated Kaleidoscopes. And for the better, the now-seven-piece sounds like a full-fledged and fully realized band.
Recorded on analog with Casey Diiorio and mastered at Abbey Road Studios (yes, that one), this is definitely a headphones record. Though iPod earbuds are more in demand today than the kind of headphones that swallow entire ears, the various textures of the band are heard quite clearly throughout this record. And you don't have to raise your chances of developing tinnitus to hear these textures.
Yes, there are plenty of guitars here, between frontman Dylan Silvers and fellow axe men Beau Wagener and Seth Bohlman. Yet Wagener sticks mainly to the leads while the others lay down rhythm and add fills when needed. Drummer Eddie Thomas once again does a great job with a style that flows between playing all over the kit and knowing when to keep things spare. Bassist Fatima Thomas still lends plenty of vocal support to Silvers' voice, and Kevin and Becki Howard, on keyboards and violin, respectively, add plenty of dream and pop to the already dreampop vibe.
Stacking all these building blocks up, the overall sound doesn't come across as seven people fighting over a mixing board. If anything, Chlorine Colored Eyes proves there is more to this band while not leaving behind what made them special in the first place.