Gone Is Gone
Echolocation
(Rise Records)
Greatness is expected when you combine members from Mastodon, Queens of the Stone Age, and At The Drive-In, but it’s probably a certain type of greatness. That’s been where people seem most divided on Gone Is Gone; it’s not what they expected, and after having the chance to interview drummer Tony Hajjar before the release of last year’s enjoyable (yet uneven) EP, the group hasn’t exactly been what they expected. What started as Hajjar and guitarist Mike Zarin collaborating to create film trailer music has grown exponentially in just a year. Their debut EP felt like a not-quite-fully mixed version of a band in flux between dreamy soundscapes and progressive post-hardcore energy, but it showed the signs of real promise. This wasn’t just another group of talented friends jamming; there was real potential for greatness.
Echolocation finds the band smoothing out its edges to release a much more cohesive and consistent listen, but while the record is a nice middle ground between their two styles, it still feels like we’re catching the band mid-transformation. A lot of the record gives the impression of the chillest, hazy form of Torche’s sludge pop, but it’s hard to shake the feeling that a little more energy wouldn’t be beneficial. Too many tracks, like “Dublin” especially, just meander about, never pretty enough to float on by gracefully (vocalist Troy Sanders’ gruff voice is a much better fit here, but it works better when Gone Is Gone gets gritty). Unfortunately, the sludgy basslines of “Gift”, the pop-metal of “Pawns”, and the siren-like lead in “Resurge” can’t save rest of the record from feeling a bit stale and uneven. It’s like the band hasn’t yet figured out its identity. Is this group going to go all-in on its soundscape, soundtrack-like atmosphere or pursue its love of marrying riffs and pop hooks?
The latter is clearly where the band succeeds, but despite their considerable talent, they aren’t good enough at the former to result in an enjoyable album. It’s not that any of the music on Echolocation is actually bad; instead, it feels disappointing. If only they could infuse their charms and talent into more interesting music, this debut full-length wouldn’t feel so disappointing. Thankfully, it ends on a positive note, as title track actually finds the band meeting in the middle to good results. It’s an airy tune that still carries some momentum, a characteristic much of the slower tunes sorely lack. The songs and moments that work on Echolocation are exceptional, but the record is weighed down by too much mediocrity to compel.
