Album Review: Autolux - Pussy's Dead

Prior to actually sitting down with a copy of Autolux’s third album, there were a few things that had me a little concerned about it.

The first being the name. The name of the album is Pussy’s Dead.

What does that even mean? Or do I even want to know?

The second thing that gave me reason for pause was that I was uncertain how to feel about the new sonic direction the band was taking, based on the album’s early single—the beat heavy, glitchy “Soft Scene” marked a pretty strong departure from the band’s prior releases, as did the more recent single, the fuzzy, slithery “Brainwasher.”

Despite having a questionable at best title, my mind and ears have been put at ease, because taken as a whole, Pussy’s Dead is simply the next logical step for the band.

It’s kind of astounding to stop and think about how Autolux are on their third album, but they’ve been working as a band for fifteen years—self releasing a demo EP in 2001 before moving onto their debut, Future Perfect in 2004, following that up with Transit Transit in 2010.

Autolux has always been a very atmospheric band, and even today, they remain atmospheric—there’s just a lot more going on in these songs in comparison to their early days. They started flirting with more electronic elements and experimentation around the time of Transit Transit, subtly easing those elements in, allowing them to organically blend with the band’s relatively standard instrumentation.

The flirting days are over, however, on Pussy’s Dead, and it can take a listener by surprise to hear just how committed the band is to this new sound, and that may be thanks in part to the production work of Boots, best known for his work on Beyonce’s self-titled album from 2013.

Right out of the gate on the rollicking opening track, “Selectallcopy,” Autolux injects numerous synthesized layers of cacophony into the track as de facto frontman and bassist Eugene Goreshter deadpans “It’s oh so sad being happy all the time.”

“Selectallcopy” naturally slides into the electronic infused “Soft Scene,” and while I was a little nonplussed by it in November when it was released as a single, within the context of the album, it’s one of Pussy’s Dead’s stronger and definitely one of its more accessible moments.

That isn’t to say the rest of the album is inaccessible, but in comparison, there are songs you can tell that the trio poured all of its “pop sensibilities” into.

As the album progresses, the band slowly begins to unpack that synthesized cacophony, making way for the trademark murky and gritty guitar work of Failure’s Greg Edwards by the time the album reaches its second half—specifically on the banger “Listen To The Order,” which also showcases drummer Carla Azar’s incredible skill behind the kit.

Despite a few stumbles that slow the pacing down, like the piano driven trudge of “Anonymous,” Pussy’s Dead, from front to back, is a relatively rewarding and a surprisingly fun and enjoyable listen. Even with this newfound inclusion of gadgetry and noise, it’s the kind of record that shows the band still recognizes where it came from, but isn’t afraid to embrace where it was going.

Pussy's Dead is out today via 30th Century Records.