The Autumns–Fake Noise From A Box Of Toys–Worlds Fair

The Autumns
Fake Noise From A Box Of Toys
Bella Union
ADDS 3/18/08

Back in the mid-90s, high schoolers Frankie Koroshec and Matthew Kelly began swapping records and exchanging notes on their musical idols. As aspiring guitarists, they would spend hours untangling Johnny Marr’s impossible webs of jangling genius. Among others, the Cocteau Twins, My Bloody Valentine and Sonic Youth were thrown generously into the mix. By the late 90s, The Autumns had drawn their influences together to create a unique and identifiable sound — one that drew an eclectic mod-to-goth spectrum out to LA nightclubs by the hundreds. That year, the budding but ill-fated Risk Records signed the group, releasing an EP (Suicide at Strell Park) and full-length album (The Angel Pool). Flipside deemed The Angel Pool a “hypnotic pop masterpiece” and CMJ called the band “an enlightening unit that knows its past but pushes toward the future.” The record generated waves big enough to brush a figure critical in the band’s own development: Cocteau Twin Simon Raymonde, who heard demos the band tracked with producer Andy Metcalfe (Squeeze, Soft Boys). Naturally, the label had little trouble persuading the band to collaborate with Raymonde. Within a few months, the band were in London to begin work on In the Russet Gold of This Vain Hour, the Autumns’ second LP. The Autumns continued to experiment over the coming years. Academy Award nominee and Golden Globe winner Angela Shelton hired the band to score her movie, Searching for Angela Shelton. The film went on to garner wide praise, taking numerous festival prizes in the process. Soon after, the band hunkered down in engineer Jamie Seyberth’s (Teenage Fanclub, Beachwood Sparks) studio and patiently sculpted an ambitious new full-length. The Autumns’ forthcoming album – Fake Noise From a Box of Toys – is a radical departure from their earlier work. The songs slice and dice with a frenzied precision, their pummelling pace interrupted only sparingly by the more serene fare of Autumns’ previous sound. And yet the latter emerge all the more lovely from the record’s generally rough relief.