It ´s important to start saying that this album was co-produced by Chris Taylor, bassist and producer of Grizzly Bear. With that clarification made, I can skip the part where I try to explain that kind of melancholy that lives in every reverberation or how percussions makes Big Echo songs seem part of a great ritual to which we are lending our ears. In this second album, the band led by Chris Chu finished shapping their ideas. While their debut, Talking Through Tin Cans, showed the ease of doing poppy songs pretty interesting, here we have a clear evolution, a search of greater complexity in the compositions. They don´t sound like some happy guys from California anymore. And this is revealed in the first seconds of Excuses, a penetrating song, mixture of sadness and gray day, that starring some orchestras and choirs flags up this new territory with cavern sound that fits so well for them.
The work shows its charismatic side with songs like Cold War or All Day Day Light, gets a bit dark and difficult to listen in others (Hand Me Downs), and reaches a mesmerizing climate in slow tempo tracks like Wet Cement Stitches and Pleasure Sighs, which has that kind of schizophrenia generated by guitar arpeggios that suddenly turn into walls of distortion.
The Morning Benders found on Taylors´s production the missing link to give an identity to their songs. It´s clear that they also grew up musically and more accurate test of this is called Big Echo, a huge record where each listening means rediscovery.
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