The Beta BandHeroes to Zeros
On this, the British four-piece’s fourth full-length disk (including a three-EP collection appropriately titled “3 EPs”), The Beta Band can no longer rely on reviews that breathlessly describe its style, execution and eclecticism. It’s time for critical analysis.
For anyone who missed the rave reviews regarding the band previously: trip-hop, acoustic funk, psychedelia, altera-rockabilly and arthouse soundscape come to mind. Think Beck, Captain Beefheart and the Beach Boys, and then try to find a common bond – that’s The Beta Band. In a word: complex.
That being said, “Hereos to Zeros” is not a reinvention of the band’s previous work. It is a straightforward conception of the myriad ideas that floated – sometimes unchecked – across “Hot Shots II” and the self-titled release.
It is the first album the band has solely self-produced, and this element is evident. Having an outside producer work on this band’s music is akin to an experimental writer dealing with a conservative editor, or an innovative filmmaker succumbing to the demands of a strict producer. Essentially no person could produce The Beta Band as well as it produces itself, because nary any person is as creative as it is.
Interestingly, the band chose to rein itself in on this release, stretching its boundaries less, and focusing on its strengths.
This is not to say that “Heroes to Zeros” is a straightforward release – far from it – but a continuity that has been the only element lacking on previous releases is found here, to great success. This album is actually a cohesive album, a trait that very often divides the good and excellent bands, especially in pop music.
The album opens with “Assessment,” a fine and fun song that smacks of U.K. singles material. The song feels like a creative DJs remix of a forgotten U2 song. Among the samples and horns, a driving guitar part represents the rock ‘n’ roll ambitions of the band.
“Space Beatle” could not be more appropriately named: It sounds like a modern interpretation of The Beatles at its most psychedelic. The vocal harmonies rise and fall through descending chords with a lazy cadence that is perfectly inconsistent with the poppy electronic loop that closes the song. This sea change – as well as the soft lyrical repetition and atmospheric feel – smacks of the rhythmic haze of a drug trip.
The band ventures into the rocking world of British new wave with “Liquid Bird,” with drum machines and whining guitars backing up the incisive lyrics.
Holistically, “Heroes to Zeros” is the strongest of the band’s efforts. It is a true album, not a collection of cool tracks, however it lacks some of the brilliant single efforts that are especially evident on “Hot Shots II,” such as “Squares” or “Dragon.”
Above all, The Beta Band continues to prove that a British band can exist in the aught-aughts without emulating Radiohead, Morrissey or Ian Curtis.
The PixiesWave of Mutalation:Best of The Pixies
Straightforward – some would say superflous – disk compiles the band chronologically. It runs through the hits and adds the live favorite “Into The White,” Neil Young’s “Winterlong.”
