There’s something about Jaill’s second release for Sub Pop that just can’t be pinned down.
It’s certainly not a bad record by any stretch – the songwriting is clear, concise and unpretentious and the production is uncomplicated and each layer is prominent without sounding cluttered; but there’s something stopping this record from being great. Perhaps the aspect that is most obvious is the feeling that there is simply not much on offer that hasn’t been heard before.
Traps’ most endearing feature is the use of instrumental layers outside of the typical bass, drums and guitar. Psychedelic swirls, haunting keyboards, drum machines and even tweeting birds add crucial textures to these simple tunes.
There’s certainly a mid-90s Britpop feeling to the album, particularly in the vein of Supergrass circa 1995. In ‘Perfect Ten’ it’s almost as if singer Vinnie Kircher is directly channeling Gaz Coombes. The Milwaukee trio also draws influences from labelmates The Shins in their simple instrumentation, song structures and melodies.
‘Million Times’ certainly stands out as one of the most interesting tracks on the record. The songwriting is still simple, however there is more experimentation with its sonic layering and instrumentation, letting the song build gradually before going into a darker drum machine led breakdown.
‘House With Haunting’ is certainly another stand out; jangly guitar lines float on top of a bopping beat and haunting keys with each layer perfectly intertwined.
Jaill have presented a strong follow up to 2010’s That’s How We Burn, however it feels like it doesn’t do enough to separate it from what’s come before.
– Gabe Andrews
