For their sophomore album Here Anonymous Eulogies simply let the album write itself. Not to sound as if they are musical geniuses, the band trusted in their abilities.
Lead singer and guitarist Peter Walker explains that “self-limitation is such a good thing. It lets you dig in a little bit more instead of changing things for every mood or song. It forces you to manipulate what you have in your hand rather than try to grab at something else” (press release).
The Los Angeles-based quartet (also including Garrett Deloian – bass, Drew Phillips – guitar, and Chris Reynolds – drums) creates the kind of mellow rock normally reserved for one of those quirky indie films. Oh hell, the entire 41-minute set could act as a feature-length soundtrack.
Consistency is one idea that the Eulogies aim for when performing. Walker explains, “I love to put a record on and that’s the feeling I’m gonna get for 40 minutes. But it’s gotta be exciting, too.”
The opening “Day To Day” plays as a dispassionate rerun, bordering on depressing and consigned to routine. The following “Eyes On The Prize” provides a contrast with its inner excitement and unhesitating expression of that excitement.
Eulogies shift between calm melodies to more frenzied ones without skipping a beat, showcasing a steady range that on the one end can be a lovable pseudo-ballad in “Two Can Play” (with guest Nikki Monninger of Silversun Pickups), on the other a pseudo-anthem in “Dark Place,” and on another a castle in the sky in the minimalist dreamy “Stranger Calliope.”
The diverse “This Fine Progression” is the album’s highlight. Starting off with a playful guitar riff, it later peaks into an elative burst before trying to ride off the same way it came in. What’s so appealing about the Eulogies is that they so positive, led by Walker’s cool vocals and anchored by Deloian, Phillips, and Reynolds’ apt instrumentation. The result is the very pleasant and enjoyable Here Anonymous.