Album three from New Yorkers Asobi Seksu finds the central duo of James Hanna (guitars) and Yuki Chikudate (vocals, keys) expanding their shoegaze-echoing sound to incorporate instant-hit accessibility like never before.
So, while the trademark drifts and drones – each as beauteous as the next – are present and correct, there’s also a pop edge to more than a handful of numbers, suggesting the band are looking to progress from widespread critical recognition to a greater level of commercial visibility.
‘Me & Mary’ is one track that’s hardly backward in coming forward, exploding into life from the second play’s triggered; driving percussion keeps attentions focused while the sublime vocals of Chikudate slip in and out of the foreground, and instrumentally the piece comes on like a meeting of minds between Bloc Party and My Bloody Valentine. It’s easy to hear why it’s been picked as a single, as it also taps into the type of indie nostalgia currently fashionable via the work of Vivian Girls and The Pains Of Being Pure At Heart.
When the album’s at its most openly pop-sounding, there’s an air of The Cardigans to proceedings, and even the slightest note of Saint Etienne – this is primarily due to Chikudate’s ethereal contributions, but the layers laid on thick by Hanna keep the arrangements bubbly and bright, where other acts associated with the rejuvenation of laces-staring sway-rock simply spiral into impenetrable dirge. Not once do Asobi Seksu play the noise card – this music showcases its makers’ refinement from start to finish. Live, they might be a deafening experience, but here understatement says more (and says it louder) than excess.
Occasionally its prettiness threatens to be the record’s undoing, as efforts like ‘In The Sky’ and ‘Sing Tomorrow’s Praise’ edge towards tones lacking essential contrast; but the reins are held tight, and Hanna never lets his songs stray away from keeping their shape, a structure that’s lasting of impression. ‘Gliss’ rides a wavering melody that’s reminiscent of Mercury Rev, Chikudate’s warm vocals wrapping the listener in a comforting blanket of sound; ‘Risky & Pretty’ meanwhile serves as a bridge between sides of the album, all ambient tones that stir thoughts of soundtrack-friendly Eno. Closer ‘Blind Little Rain’ has an almost ‘60s soulful girl group feel to it – listen and be transported somewhere other than here. At almost every turn, there’s plenty to admire.
As the various parallels noted above suggest, there’s little that’s revelatory about ‘Hush’. But when an album’s expertly brought to an end-product state like this, it’s impossible to find fault in its myriad achievements, when each nuance is finished with the deftest touch and attention to detail. Ideal world, this propels Asobi Seksu into the mainstream and confirms their place at the top of their peer-group tree. If not, it’s still the band’s best LP to date, and a marked progression from albums lacking this release’s lovingly crafted immediacy.
Read our Q&A with Asobi Seksu HERE.
