In the ’00s, there was a whole wave of rock bands across the English-speaking world who were relentlessly remixing and purposefully mismatching sounds and influences into mercurial bursts of groove and gravitas.
While most of the bands who would eventually be lumped in with the era’s “garage-revival,” as it was called, would hail from the Atlantic cultural poles of New York, of whose scene The Strokes appear to be the clear winner, and London, where the Arctic Monkeys appear to be the lone survivor, places like Toronto also managed to make contributions to this cultural exchange, most notably with Tokyo Police Club.
This style of music hasn’t really made a comeback in the 10 years or more since it was dominant, possibly because a lot of these bands ended up sounding a little alike, which would lead the press to reduce every song to some kind of Stooges, or alternatively, Gang of Four worship. Or maybe it was because pop-emo was on the up-and-up around 2008, and people were in the mood for something new.
Whatever the reason, the garage-rock revival has been in desperate need of a revival for a while. This is one of the reasons that Toronto’s The Effens are worth chatting about today. But only one of the reasons, mind you. The main reason we want to talk The Effens, and the main reason you should care, is that they’re really good!
Comprised of bandleader, vocalist, and guitarist Austin Nops, guitarist and synth player Paul Theo, bassist Hannah Weber, and drummer Fabian Oblivion, The Effens serve up a full course of tasty, lean riffs, angular grooves, danceable percussive rebounds, and a wry sense of melodicism on their most recent EP Eventually.
Recorded in Austin’s grandmother’s basement, the album explores themes of lost innocence and painful personal growth through riffs and hooks so sharp and smooth, you won’t realize how deep they’ve slid into your brain until days later.
The group’s sound is primarily influenced by The Strokes, something that definitely comes out in Austin’s vocal performances on opener “Pavement Age” and quite thundercloud that is “Venom Denim.” But you’re also likely to pick up hints of Bombay Bicycle Club in the strained, high-pitched rhythms of “Punishment” and We Are Scientists in the wiry, fiery turnover of the title track.
What really sells a lot of these fraying guitar chords, obtuse left turns, and slacker snear vocal performances is just how danceable the songs on Eventually are. They’re comparable to early Artic Monkey materials in this way, especially stuff off of Whatever People Say I Am, That’s What I’m Not.
It’s almost impossible not to get caught up in the groovy undertow of “Sad Dog” or the skylight snare of “Things You Can’t Take Back” with its somber intimacy and body-motivating flair-ups. This is music to move to. This is music to swivel your hips to while you bob your head and pump those fits. This is music to make eyes with someone across the dance floor to while they follow their own rhythmic muse. It’s music that is best enjoyed together, while all bodies are in motion.
Eventually, you’ll be able to enjoy The Effens in the club with a whole pile of sweaty and eager revelers, but for right now, Eventually will work just as well playing on Bluetooth stereo at a cookout or dance-off in the park, with plenty of open-air and a small group of (vaccinated) friends. And if you’re not vaxxed, by now … seriously, what is the hold-up?
Buy and stream The Effens’ EP Eventually below via Bandcamp:
Follow The Effens on Twitter and Instagram here.
