One of the most memorable experiences of my time in Chico was seeing Engine Down live. Their music isn't what you'd call "traditionally" heavy - no blast beats or smoldering guitar assaults to be found here - but that isn't to say Engine Down didn't rock hard live. I saw them after Demure came out, which contained some of their softest songs at the time. Even though these songs were a bit on the soft side, they were still as expressive and heavy as their older, more raw material. Sometime after Demure was released, Engine Down got signed to Lookout Records. While it could be coincidental, Engine Down puts a lot more emphasis on the choruses, making them catchier and much more accessible. Though this newfound love for infectious hooks might stick inside of people's heads, I found many of them to be a little forced. Engine Down is very similar to Antenna (Cave In's flop of an attempt at a straight-ahead pop record), very mediocre at best.
With the chorus, "Your cover has been blown/I know you're alone/But the center of attention/You speak no sign of leaving/But you stop breathing/And I can't afford the lies", I'm sure "Cover" will be Engine Down's leadoff single. While you'll certainly find yourself humming along, the forgettable lyrics leave much to be desired. Prior to the chorus, Engine Down treats the listener to some pleasant, progressive guitar chords that are soon enough flooded by Keeley Davis' vocals, which have matured considerably since the group's first recordings. While Davis doesn't sing as slowly/drawn out as on previous albums, his voice still soothes rather than berates. It's the kind of voice that floods teenage girls' vaginas with fingers. At the same time, it's not so melodramatic and whiney that it detracts from the music. The main problem I had with "Cover," as with much of the record, is that it simply doesn't go anywhere.
That isn't to say that there aren't any positive qualities buried in Engine Down. The bass tone is much louder and more vibrant, for instance, an upgrade that can be attributed to bassist Jason Andrew Wood's jump from fingers to pick. Personally, I find that when rock bassists use picks, it showcases, as it does here in Engine Down's case, the bassist's ability play off and weave in and out of the grooves of the drummer while still accentuating the melodies of the guitar.
Cornbread Compton's drumming is, as always, endlessly listenable, but when it becomes the focal point of a song, it's frantic and unfocused. Take "Standby," for example. The principal drum rhythm becomes cluttered and frenzied when accompanied by a maraca being shaken over the tapping of drum hits. Maybe it's the overbearing rhythmic energy, but "Standby" comes off sounding like a song from Demure only without the catchy chorus. Some dynamics are created, such as in the intro of "Long Time Waiting," which has an interesting dance-y beat (not so heavy on the snare) and a captivating groove. The guitars do simple short notes over the groove, but when the chorus comes in they slip in to remind the listener that this is rock, not disco.
Engine Down has bits and pieces that ring true to spirit of past records, but overall comes off rolling like a flat tire. Still, I'd rather hear Engine Down, a band with their own sound, on the radio than one hit neo-80's wonders like Franz Ferdinand and The Killers. On their next album, if they can retain the power of their previous work and combine it with the direction of Engine Down, we might start cooking with gas. Hopefully this album is a transition in that direction and not down a dead end road to spineless pop. The Zed's verdict: Listen to Demure instead.
