Real Estate return with two new members and fourth album In Mind, yet again providing their unique blend of comfortable, familiar dream pop
Real Estate are a one-of-a-kind band. Sure, they’re not the only outfit to produce dream pop in their current home of Brooklyn, nevermind the entire industry, yet they are distinctly ‘Real Estate’. Enter any of their songs within their growing discography - In Mind is their fourth LP - at any point whereby the surf rockers are in full flow, showcasing their mettle in the band’s own low-key, humble manner, and the tone, rhythm and jangles will leave the listener in no doubt as to who is displaying their craft.
Just one minute into opener ‘Darling’ and it becomes apparent that so too does this notion apply to the band’s new album. A large part of this is down to the fact that lead singer Martin Courtney’s vocals only enter the scene thirty seconds later, allowing the band to exhibit that they are indeed still capable of producing the intricate, swaying instrumentals that they are so known and loved for from the off.
The band and album peak in the form of ‘Two Arrows’. It has all the hallmarks of what the now substantial fan base have grown to love: the soothing, comforting vocals, the pastoral-like flickers of a guitar, the drum patters that never get excitable as to cause any kind of bother. All fuse together seamlessly as the near-seven minute jam comes to its crescendo, resulting in a climactic ending that so very almost results in a restrained thrill so synonymous with the band.
Since 2014’s commercial and critical success Atlas, there have been a few personnel changes. Co-founding member and lead guitarist Matt Mondanile has left, and friends of the band guitarist Julian Lynch and keyboardist Matt Kallman have officially joined. The influence of the latter two can be heard throughout, introducing a few elements that have previously not been seen. Lynch allows his strings to swoon on ‘Serve The Song’, before they darken and distort and produce a genuine rock’n’roll solo. Kallman brings a level of class to proceedings as he tinkles his keys on ‘Time’. The band as a whole have grown. There’s a confidence to Courtney as he admits to his impatience in the chorus of ‘Darling’ that very almost grows to a sass. Proceedings even turn positively country on ‘Diamond Eyes’ as subjects such as humility and melody are discussed.
There’s a contentment to it all. There is contentment in the music, the lyrics, the life the band are so clearly appreciative of and enjoying. It is this that makes Real Estate what they are, and yet - in the case of In Mind - it has also turned into being their downfall. The album is nice, but ‘nice’ is a word one uses to describe something they are just okay with. The contentment was novel with 2009’s self-titled album, but three albums later and it’s wearing a little thin. A hint of the band exploring terrain they are yet to adventure into and out of their comfort zone can be seen in ‘Saturday’, in the form of Kallman opening proceedings with a few strokes on a grand piano, but at this point it is too little, too late. It is all too comfortable. Slow number ‘After The Moon’ is even undynamic to the extent it nearly encourages boredom to creep in.
Credit absolutely must be given to the band for creating a sound that is unique to them. This is a feat that only the truly talented can achieve and must be celebrated as such. With In Mind, though, Real Estate don’t get nearly close enough to evolving their output, to the point that they are far and away from producing something that is unique within their own craft. Contentment, then, clearly has both beautiful and wicked ways, with In Mind being proof that even pure artistry can be lured onto the wrong side.
6/10
Published on: Raw Meat
