The Observer, November 16, 2007
Volume XL, Issue 11
Earlimart doesn't torment with latest release
Earlimart has come a long way since their beginnings as a dissonant post-punk band. Their evolved form now creates dream-pop soundscapes with whisper-like lyrics. Their latest release, Mentor Tormentor, was released over the last few days of summer – making it the perfect soundtrack for windy autumn days. The California duo creates something for old and new listeners, while keeping a coherent flow throughout the entire album.
The album opens with the broodingly quiet "Fakey Fake." Lead singer Aaron Espinoza quietly growls, "You were the fake and I was the fool," as the instrumentation remains low-key and constant. The song sets the stage for the rest of Mentor Tormentor, with quietly arrayed distortions and piano-heavy jams. The lead single, "Answers and Questions," displays Espinoza's lyrical themes of doubt again. Backing vocals provided by Ariana Murray add a layer of intimacy and dreaminess to the song. Perhaps it is really her vocal ability (which is largely not present on this album) that sets Earlimart apart from similar bands. "Nevermind the Phonecalls" opens similarly to the lead track, but despite being seemingly formulaic in hindsight, the listener shouldn't grow bored of the band's demure style. However, if the listener does, Earlimart changes things with "Happy Alone." Murray takes the vocal helm with this punchy, piano-pop tune. Her seemingly self-affirming lyrics perfect their style, as she sings, "Burn the mail, destroy the phone. Yeah, I wanna be happy alone."
Espinoza's vocals come back with "The Little Things," which makes the album feel surprisingly fresh after being previously immersed with Murray. Subtle vocal harmonies graze over sparse piano, drum, and acoustic guitar instrumentation, which spotlight the lyrical power of the band. The heavy track, "700 100," is reminiscent of their old style and feels generic. It might appease old fans, but to those who are new to the band, "700 100" sounds out of place here. The style goes even further on "Everybody Knows Everybody," but feels better. Awkwardly, the dreamy piano comes back quietly on "Don't Think About Me." The album takes a sudden split from the heavy songs, as if they didn't even happen. Barring this, "Don't Think About Me" keeps with Espinoza's theme of angst-filled confusion and doubt over past loves. He sings, "Don't you think about me. Don't you ever think about me?" The light-hearted "Gonna Break Into Your Heart" shows off Espinoza's current conquest, portraying himself as not a complete downer.
One of the strongest songs on Mentor Tormentor is "Bloody Nose." Despite featuring simple instrumentation, Espinoza's lyrical and vocal prowess shines. Instead of the usual spider web-thin vocals, there's a hint of earnest happiness in Espinoza's voice. The track transitions very nicely into the only other track with Murray on vocals, "The World." The album shines at this point; "The World" is a short track but keeps the pace of the album quite well. Symphonic instrumentation adds another level to the song over Murray's lyrics and vocals, making "The World" a key track on the album. Typical pianos chime in on "Just Because," while the album ventures back into upbeat indie-rock territory on "Nothing is True." The album ends with "Cold Cold Heaven," which keeps with the depressed lyrical style but features upbeat instrumentation until exploding into a sing-along at the end.
While Earlimart isn't exactly a well-known band, they certainly could change that with this album. Mentor Tormentor showcases a steady pace for what a two-album evolution can do for a band. While it sometimes regresses into older territory, Mentor Tormentor is definitely autumn-flavored music for those who want something to go with their self-doubts while keeping hope alive.
