The Helio Sequence - Keep Your Eyes Ahead

I ordered the new Helio Sequence on vinyl when the pre-sale started the other day. While I waited I remembered thinking about how annoying it is to get a vinyl and not be able to easily transfer it to other media. And how, really, can't I just get a free mp3 download when I buy the record? Then, sure enough, Keep Your Eyes Ahead shows up on my doorstep with a sticker on front announcing the inclusion of a coupon for a free mp3 download. How about that? Plus I got all that other cool stuff... SubPop sticker (as always), KYEA sticker, KYEA ahead button, and a CD with some outtakes. I dunno, but that's a package for which I'm more than happy to shell out a few dollars.

I am, when trying to write about music, loathe to attempt a track-by-track review of any sort. I tried it once, and it was awful. I realized that and then realized that the only thing about which I am qualified to write is that which I feel. That often turns into a huge mish-mash of run-on sentences and inside jokes that only I get. Which is fine since I'm only writing for myself. Now, as I attempt to think what I feel, it's impossible for me to get away from the opening cut without saying something. There's really nothing original about the subject matter of Lately, and the song itself is pretty straight forward. If, however, there was a *type* of song that makes me cry, it's this. It's an easy idea to butcher, but this was done beautifully. The production and playing were both crystal clear and razor sharp (as they were throughout the album), and Brandon's voice soared and every word was placed perfectly. Easily one of the most beautifully painful things I've allowed myself to experience in quite some time. There's never an admission that every word of the song is a lie, but you can feel it. It's heavy and, at the same time, promises freedom. If you just put it down on paper. Put it in a song. Making it concrete makes it real, right? But no... no it doesn't. I didn't come away from their show in Charlotte feeling like this song is as amazing as I think it is now. But, really... just fantastic.

So... there's that. I tried to stay with Brandon's vocals, but the words quickly desolved halfway through the 2nd song, and his voice really became another instrument playing its part in a well choreographed tete-a-tete between space and sound. Now I purposefully did not listen to the record on myspace before I had it in hand... there's something about sitting in a room listening to music for the first time; I didn't want to ruin it. But they must have really been proud of these songs b/c they played most of them at the aforementioned show. I'm sure that had some effect on me as the next songs melded together, and I let them wash over me with a mild sense of comfort and familiarity. I'm spastic and fidgety enough that perhaps the highest compliment I can give to anything is that I was able to sit, unmoving, doing nothing else and not wondering what I would be doing next. It was soothing in such a strange way. I could feel the music slowly trying to pull some sort of low-level sadness out of me as it went by. And then Shed Your Love came on. A pretty atypical song for me to enjoy. No drums. Just Brandon picking a guitar and channeling shades of Bob Dylan with some neat production stuff going on in the background. Its placement on the record definitely helped the long, and it really pulls you out of the electronic beep-boops that are so often prevalent in Helio Sequence songs. Highly highly unexpected... both its presence on the record and that I'd actually like it. End Side 1.

Tangent... I'll try to make this quick... I was lucky enough to have been around real musicians a few times during the all-important final step of making an album. Figuring out the tracklist. I may have mentioned this before, but KYEA was done so perfectly that I just had to mention it again. A record has 2 first songs and 2 last songs. What those songs are is important. What if I Want You wasn't the last song on Abbey Road? That's all I'm really going to say about that except that the experience of listening to this album is greatly enhanced by the pause after Shed Your Love. (oh, and there was a big pause in the middle of the theatrical release of Lawrence of Arabia too...)

And there's a pause in the middle of this blog post... So, Side 2. Side 1 got you all good and depressed but not really sure why b/c it mostly sounds poppy and happy, and then they kick you with that last track and follow it up with the title track to open Side 2. The power of the pause. The effect is very mildly jarring as I listen to it now on iTunes... But Keep Your Eyes Ahead is a fantasticly hopeful and forward looking (duh) song. Red All-Stars. That's what it makes me think of. Sadly, it ends in a fade-out. One of those that seems to start fast and then just last a little longer than it should. So there's my one initial complaint about this record. The remaining four songs were all new to me, which was nice. I couldn't help but feeling Beck mixed with Primative Radio Gods on Back to This, which was strange... But both of which are good things. Side 2 kind of did this sin curve thing. Keep Your Eyes Ahead was definitely the highest peak, then we dipped a little for Back to This and then back up just a little for Hallelujah, and it was a great ride. I like Hallelujah a little bit more each time I hear it. There's a lot of noise, and the lyrics got lost very easily. Pretty sure I got the general idea tho. And Brandon's really got a fantastic voice. And then Broken Afternoon. I wasn't completely sure what to make of this. Initially b/c I just knew it was signalling, all too soon, the end of the record. Then b/c, well, where is Benjamin?? And then, why do I keep hearing Bob Dylan and Dan Bern? And, lastly, wtf is this? Dog Faced Boy? (No ophphense) I know it's a sign of weakness to fall into making comparisons, but it's all I've got at this point. The record ends with such an odd little ditty that it leaves me rather confused... As a whole, Keep Your Eyes Ahead holds up better as an album than Love and Distance. Largely b/c L&D played like Cooleyhighharmony with it's divided sides, and KYEA flowed in and out and played much smoother overall. Also the overall production quality is amazing with nothing seeming out of place and everything feeling as though it was meticulously planned and very carefully put together. Aside from that fade-out. My only other complaint? 37 minutes long.

How sad it was that we could not believe And everyone who believes And everyone who believes And they said, "We all said hallelujah" "We all said hallelujah" And everyone moves around with ease And everyone fell right to their knees and then, "We all said hallelujah" "We all said hallelujah" "We don't want answers anyway"