Coming to a crossroads in their careers, the six members of Venice Is Sinking set out to make their second and final album, the record each of them had always wanted to be a part of. AZAR, they determined, was going to push their sound to the limits, force them out of their comfort zones, and channel all the fraught emotional energy over their impending breakup into an album they would want to be remembered for. And it’s hard to deny that, at certain points, AZAR is a very beautiful piece of work, swelling with orchestral flourish and densely-layered arrangements. Yet, despite the warmth and delicacy, I can’t help but walk away from the album feeling a little…well…bored.
There are two things working against this band. First is the way they use the trumpet. Too many of VIS’s songs feature a prominent ascending trumpet strain rising above an instrumental lull or a quiet vocal. It’s a tactic that I’ve encountered way too often since Neutral Milk Hotel made it hip for indie bands to play brass. It’s a shortcut to creating an emotional peak that feels every bit as cheap as a come-on from a thrice-divorced bachelor. The second thing that keeps me from fully connecting with AZAR is singer Daniel Lawson’s voice. Although he’s able to harmonize beautifully with fellow vocalist and viola player Karolyn Troupe, on his own Lawson lacks any distinguishing characteristics to set him apart from the multitude of vaguely Sufjan Stevens-sounding vocalists floating around the indie-verse.
Yet in spite of these drawbacks, there are some undeniably gorgeous moments on AZAR. The song that particularly grabs my attention is “Wetlands Dancehall,” built on the bones of The Penguins’ “Earth Angel” but filtered through some post-Beach Boys vocal harmonies and Angelo Badalamenti synth. It’s a masterpiece of song construction: moody, swooning, and brilliant, in itself a fitting justification for the album as a whole. There are other triumphs as well. “Young Master Sunshine” finds the perfect place for the trumpet in the mix, and in “Sunbelt,” Troupe navigates the band through some tight time-signature shifts, yet still keeps that just-under-three-minute song sounding like one organic piece. A more miserly selection process could have helped bring moments like these to the forefront. The four title tracks (“Azar 1-4”), ranging from one and a half to almost four minutes in length, only bog down a collection of songs that already have a tendency to dawdle along at their own pace.
In the process of creating AZAR, Venice Is Sinking has decided not to call it quits. I’m glad. Despite its faults, AZAR certainly showcases a band with a keen ear for harmony and a willingness to push musical boundaries. I can only hope that future releases will find this band honing its strong points.
1. Azar One
2. Ryan's Song
3. Okay
4. Azar Two
5. Wetlands Dancehall
6. Young Master Sunshine
7. Azar Three
8. Sun Belt
9. Iron Range
10. Azar Four
11. Charm
More about: Venice Is Sinking
