All in Good Time’s best songs are longform expressions of that same restraint. Young’s guitar often adds weight and volume to the album, but on “Medieval Wall,” his chutzpah only reinforces the same lackluster hook instead of diversifying their approach.ĮCSR were always a band who excelled at building anticipation “ I Admit My Faults” was a master class in distributing Huntley’s shouts and Young’s shredding in the perfect spots here and there while otherwise letting the groove take its time. There are attempts at ratcheting up the energy, but while Huntley shouts and Young leans into distorted power chords on “Vicariously Living,” the band’s overall mid-tempo approach keeps the pace sluggish. Huntley, whose voice is historically among the band’s wildest and most energizing forces, sounds pensive on several songs. Where they found prior success by striking the balance between organization and wildness, All in Good Time could stand to be a lot more combustible. That’s the overall tone of All in Good Time: staid, steady, humming along. The song adopts a gradual pace, and when a guitar solo does happen, it’s low-key. Huntley-who performs under the name Brendan Suppression-sounds disenchanted and sensitive as he sings about an inconvenient political climate where “actions speak louder than words.” The band’s overall actions, meanwhile, are unhurried. The song that announced the new album, “Our Quiet Whisper,” finds the quartet in a more reflective zone. They’re back with the same formula and aesthetic as their earlier work, but they don’t sound nearly as invigorated or inspired. This is not the ECSR whose explosive guitar work defined their best album, 2008’s Primary Colours. When they went away, Young kept carrying the torch, crafting some of the decade’s best post-punk with Total Control while working feverishly as a prolific studio engineer.Īll in Good Time is an apt title for ECSR’s unceremonious return-an acknowledgment of both their long hiatus and the patience required to appreciate this album for what it is. At their best, they were wild and untenable, offering up the screaming tension of “ Anxiety” and the fast-paced churn of “ You Let Me Be Honest With You.” They had songs impressive enough to get placed in AT&T commercials and Spoon sets. Their often-motorik rhythm section offered a foundation for Mikey Young’s guitar fuzz and frontman Brendan Huntley’s slovenly speak-sung lyrics. Before they walked away for nearly a decade, the Australian quintet built a reputation with three albums and a pile of singles that balanced regimented order with rock’n’roll disarray. That’s nine albums from Thee Oh Sees, a dozen by Ty Segall, and King Gizzard & the Lizard Wizard’s entire 15-album discography. Aside from an occasional one-off live set, Eddy Current Suppression Ring have been gone for eight years-a veritable lifetime in garage rock.
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