by Sam Michael Braverman

SONS OF AN ILLUSTRIOUS FATHER - Revol (Big Picnic)

Sons of an Illustrious Father is a hard band to pin down, constantly shifting instruments and moods. One moment you get dark and surging melodies buffeted by Ezra Miller’s craggy growls, then pulsing and anxious as Josh Aubin intones his worries over Lilah Larson’s overdriven slide guitar licks. It is a group whose live show is defined by communal chants and invoking spirits to guide the music, the kind of collective which demands an equally unconventional recording to capture its entire aesthetic. Revol falls short on this charge; while the songs prove individually interesting compositions performed competently throughout, a conciseness of arrangements and even-handed mixing are both sorely lacking throughout.

“Because” is a dark, brooding track shaped by a slinky bass groove and supremely restrained drums. It rocks pretty hard; Larson’s voice is buffeted by a disembodied choir of backups on every chorus and it fits the mood, until the bridge at the two minute mark and then everything is overwhelmed by an absurdly crisp and sloshy hi-hat. Maybe this was a distinct choice, what sounds in the headphones (and on speakers I tried several combinations to make sure it wasn’t an issue on my end) is about 90% hi-hat at the expense of everything else. If it is a distinct choice, I disagree on the grounds that it removes the listener from the song. I wish a bit more attention had been paid to the mixing of the cymbals and vocals as they are exceptionally piercing at certain points.

“Saudade” is Aubin's high point; this is some Chet Faker by way of Yacht Rock lovemaking music. 'James Taylor chilling in Miami circa 1983’ music. The chorus unfurls around an acknowledgment that a “Crazy kind of love is what I need in my life” Off kilter, chilling backing vocals set a mood as Larson’s slinky overdriven guitar is tastefully restrained, as is Miller's bombastic yet melodic drumming.

“Conquest” comes across as the demented cabaret interpretation of “I Put A Spell On You” you never knew you needed. Images of Lilah Larson leading some sort of dark army on a midnight march spring to mind and are erased by bracing lyrics about ownership of one’s body. “Tendrils” is a psychedelic tinged showcase for Miller’s exceptionally emotive vocals, a voice this dynamic is rare these days and worth paying sincere attention to whenever it appears throughout the album. Swirling keyboards and spooky guitars are well and good but like too many other songs here it feels like the themes, both musical and lyrical, could’ve been better conveyed in a shorter form. The best moments here are those in which the band hints at a climax only to withdraw into concise motifs, if the entire record had been approached with that judicious approach it would be a stronger piece.

This is definitely an album worth listening to multiple times to digest the dense lyrics and themes that promises an interesting future from these future-folk-freaks.