3 out of 5

Label: Then Ghost Is Clear Records, Expert Work Records

Produced by: J. Robbins

The expansive media copy on American Motors’ sophomore album, Functional Music, nails the group’s shifted focus: from the open-ended descriptions of crumbling, outside-of-the-big-city lands to zeroing in on their denizens, scoring – very functionally; practically – the mindsets necessary for dragging oneself through a fuzzy-futured existence with alcohol and other opiates as part of the expected equation. Vocalist Dustin White, able to better target his narrative skills on character – ‘Content’ had some wonderfully illustrative descriptions of buildings and landscapes, but only so many ways to describe cracks and ruins – spins up eight brutal tales, each with some killer lines, about Modern Existence in all its glory. And yet, the way in which the (as described) inherent malaise of living still affects / is embraced by this PA / TX band to the meta extent that it impacts the record: there’s an ante up in musical density here, but many songs give up the ghost after building up a head of steam, or push for a more emo-y resonance befitting producer J. Robbins’ former output in Jawbox, or those of Midwestern post-hardcore acts like Shiner for which Motors’ mid-range melodies aren’t really suited. In other words, they haven’t really found their groove yet, and even if that avoidance is a purposeful expression, it prevents the album from fully landing.

We get so close, though: Robbins really produces the heck out of this one, allowing the grimy bass to drive the low-end, and giving White’s plaintive talk-sing a lot of weight. The songs echo off the dirty, poster-covered walls of the bedrooms and bars in which they’re constructed and played. And even if most of the songs don’t feel developed to their fullest potential, there’s so much more richness and depth than before, as White and drummer Alex Steward push for memorable, unique melodies and hooks for each tune, besting the relatively same-soundy assortment of tracks on their debut. But, as mentioned, the songs tend to find their heart and then just bail, leaving a ton of energy on the table; tracks that push a little further do so with some layered vocals that, despite Robbins’ attempts to flesh it out, come across as someone simply turning the knobs up – not actually making the music necessarily more impactful.

However, I want to underline that ‘so close,’ though: these tunes really do set up a perfect pitch and swing, and even if they only end up bunting to get to first base then are tagged out at second, you’re cheering the whole way. And some songs absolutely make it home: ‘No Horses’ and ‘5408 Big Tyler’ are both composed with an understanding of build-and-release and pacing; these songs are complete experiences. If Motors can keep their spirits up enough for a third album, I’d love to see that trend continue so the band can carve out their own eternal space in this genre, propped up by labels like Ghost Is Clear and Expert Work.