GutterPutter

Every now & then, there will be a record that is near-impossible to evaluate in-depth or even talk about without considering the context of its production. Kanye West’s My Beautiful Dark Twisted Fantasy is hyped up from years’ worth of controversies while Wilco’s Yankee Hotel Foxtrot is infamous for coincidentally being released online the week after 9/11 after a feud with the band’s record label. One of my favourite bands, called the Wrens, earns some infamy for its long-delayed fourth LP since 2003 which is likely to be shelved indefinitely after news of feuding between its two creative minds. It’s one thing to joke about how you’re more likely going to raise a child up & see them graduate from school in 18 years than to see the fourth LP be released, it’s another to realise that it might not come out at all. Fans of the band might never get to see a glimpse of it in its completed form, bar a handful of leaks from the likes of ‘Three Types of Reading Ambiguity’… 

It’s only a few days ago when a new album gives the older listener the opportunity to see a bit of what could’ve been. Aeon Station is more likely a new name on the block for you, but it’s actually a project from veteran bassist & singer-songwriter Kevin Whelan who, over the past few years, have decided to break off from Charles Bissell to actually release music for once. With help from his brother Greg & drummer Jerry McDonald, expect there to be dual-guitar interplay with glistering riffs, loud-quiet dynamics for the song structure, & a disciplined impactful drumming that still carries on what makes the Wrens so beloved in its cult following. What detracts Aeon Station from the on-hiatus band is that with Kevin’s keyboard experience & his bittersweet take on pop-rock, expect the songs to take on an anthemic chamber pop feel that is reminiscent of the early Arcade Fire. 

Observatory helps to provide not only the musical stylistics that I’ve mentioned previously, but it also gives Kevin the opportunity to diversify his specialisations as well. ‘Everything at Once’ takes on a Beetle-esque stroke of optimism with most of the instrumentals being played in a major key. ‘Empty Rooms’ & ‘Move’ sees an acoustic-driven direction with overdubbed vocal harmonies while ‘Leaves’ takes on a slower tempo with the piano taking on a strong presence. Lastly, ‘Hold On’ might not feel the most complete, but its minimalism over the wearied vocal performance from Kevin makes for a largely sorrowful introduction. A growing array of influences can help Whelan step away from the shadows of his former band to pave the way for his own identity in the underground scene.  

It doesn’t mean to say that it’s entirely positive as while the growing diversity is interesting, the other parts can fall short especially in the artsier tracks. Going back to ‘Empty Rooms’ & ‘Move’, you can tell that he tried to go for the sentimental ballad, but it doesn’t exactly go all the way through if you don’t follow the Wrens as much as I do. The production that I would consider to be a big highlight in The Meadowlands’s brilliance is more muddled here as the mono-led sound recording constricts the amplitude of impact that each instrument could have. The penultimate ‘Better Love’ and the preceding ‘Air’ suffers the most as they’re an anthemic power pop & drum-led . As a small nitpick, the track listing could’ve done a little re-organising to make for a better flow when it’s been listened to in a linear order which is more understandable once you get to listen to the album. 

If the highs do start to come through, you’d think that the whole album takes on a concept around the heartbreaks of disappointment & the rivalry that ensues consequently. The four singles show it very well with ‘Queens’ being my favourite. Not only does it play with the strengths that makes the Wrens stand out, but you can hear Kevin’s songwriting shine through with the piano & straightforward lyricism that amounts to a middle finger on broken promises. ‘Fade’ takes on the slightly orchestral feeling with the merging of the synths & the layered background vocals seeks to take on the unknown. ‘Leaves’ builds on a cacophony from simple piano chords to an outright rocker in a span of 5 minutes over taking the initiative to leave a broken relationship. Whatever it is that the other tracks did well in their own rights, the singles did their job with flying colour & even if Kevin might not be able to make the time to write songs again, it makes you wonder what could’ve been had he succeeded in his dream. 

Of course, the spectre of the foregone conclusion is apparent & had it not been for the recent drama surrounding the Wrens on top of their self-sabotaging history, the crux of Observatory wouldn’t have existed. ‘Alpine Drive’ is the most bittersweet way to end the album as while it adopts the acoustic guitar, it contains some of Kevin’s best lyrics – some of the lines even giving Charles Bissell the run for his money. The first verse is flat out emotional to say the least & with lines like “One thousand night shifts all end with a song/ Still breaking rocks into songs we never get taught”, it doesn’t hold back with how time and delaying will erode your dreams into dust. However, the vocal performance & the chorus is hopeful for all the struggles that came to naught in the end. It’s as if even though all prospect of becoming a rockstar is virtually dead, Kevin at least holds on to a future where he’ll get the recognition he always wanted while caring for both his family & his job.  

So, what’s left for Aeon Station? Kevin admits that it’s unlikely that he’ll ever reach up to his full potential with his life being busy & it’s missing a certain magic that makes the Wrens so beloved. Nevertheless, Observatory proves itself to be a worthwhile opus in Whelan’s portfolio; a list of alt-rock pieces that gradually builds up to a whole that doesn’t miss its thesis. It’s not by all means the best, but fans of straightforward indie rock & especially that of the Wrens or Empty Country will enjoy the record for its honest charm. It’s well worth the wait.