by Kris Handel
On Lemons, the third full length from Fake Palms, the band strips away a little of the density of their previous albums and sprinkle in a bit more cheer and brightness. Their songs still carry a bit of anger and anxiety within their clattering guitars and slower tempos, but the melodies just hit with more force and clarity than previously displayed. There is a more streamlined approach on this record from Michael le Riche and his assortment of bandmates, yet there are still some of the signature grooves that remain tight and propulsive. le Riche's ability to meld multiple genres cohesively is on full display, a welcomed development that leads to some new texture and context for a band willing to dive right into newer terrain.
"Drain" kicks off the record with le Riche's guitars clanging against a scramble of percussion and a bumping bass gives way to sharp guitar lines and rolling drums. The combination of tight motorik rhythms and pinging guitars works especially well here as the vocals come in drenching waves to bring a bit of welcomed shimmer. "Satellite" has a bit of an updated early-Magazine and XTC approach full of wiggling guitar lines from le Riche and Evan Lewis (of Ducks Ltd) while utilizing some jerky start-stop moments. le Riche alternates a twitchy vocal approach with a sweeter power-pop style in moments which adds a wonderful aspect of contrast.
"The Curl" is a tightly wound punky explosion led by vocals that slip and slide around sharp guitar and a intensely connected rhythm section that pounds away at will. Throughout the twisted song structure there is still room for ear-catching melodies as well as slippery guitar that tensely uncoils and slides it's way through everything. "Wasted Silhouettes" is a moment of psych inspired clouds with a persistent groove before mazy explosions of guitars weave in an out of the impressive crashing drum and tempo-shifts driven by the musical flexibility of Ben Reinhartz. This track carries a relentless propulsivity to it as le Riche utilizes a chanted vocal style for the chorus that is as hypnotic as everything else around and fits so smoothly in this song that channels bands like Women and a more aggressive Kill the Moonlight-era Spoon.
The tension that le Riche and company put forth on Lemons is tempered a bit with some more clarity in performance and song-structure which leads for a warm and rewarding listen. Fake Palms still find a way to prod and push playfully as well as throwing in some unexpected treats, be it a little of a dub feel or other moments of inspiration. The new tactfulness on display plays to the strengths and intricacies in le Riche's songwriting without being fully obscured, opening up a welcomed freshness and impactful immediacy. Lemons is a bit of a fruitful departure from a formula that provided some moments of wonder itself, but the directness provided from that added clarity really allows everything on this record to shine and be fully appreciated.