In hindsight, it seems unfair that Maritime were introduced to the world as a collaboration between former members of two bands with incredible rhythm sections. Dismemberment Plan bassist Eric Axelson and former Promise Ring drummer Dan Didier are among the most muscular and interesting players to emerge from mid-to-late-90s indie rock, and expectations were high for Maritime's 2004 debut, Glass Floor, to capitalize on the well-documented energy of both bands. For many who harbored such expectation-- myself, admittedly, included-- Glass Floor was a baffling disappointment, a seemingly flat and lifeless album from musicians who had proven themselves capable of so much more.
Three consistent and thoroughly enjoyable albums later, it seems clear that Glass Floor was not a misstep, but rather the first step toward something different; simply put, Maritime do not create rhythm section music. While both the Dismemberment Plan and the Promise Ring often thrived on fast-paced collisions between complex and memorable individual parts, Maritime take a more holistic approach, often anchored by former Promise Ring vocalist Davey von Bohlen's ever-evolving melodic focus. Von Bohlen, whose minimal yelps were central to the Promise Ring's appeal, has grown into a mature and expressive singer; he not only sounds fully in control of his own voice, but he also seems more willing than ever before to let loose with a little bit of flair and panache.
The second Maritime album since Axelson's departure and the addition of bassist Justin Klug, Human Hearts comes off as the most studio-centric batch of Maritime songs yet, a well-constructed but less immediate foray in texture and layering. Opener "It's Casual" crams the emotional meat and bones of its chorus into a single vocal harmony, a well-timed and well-executed gesture made all the more powerful by the space that surrounds it. "Black Bones" is evocative in its tone and setting, pulling back to emphasize von Bohlen's vocals whenever the song threatens to buckle under the weight of its own atmosphere.
Still, Maritime are at their most undeniable when they really lay into it. "Annihilation Eyes" may be the best song they've ever recorded, making full use of guitarist Dan Hinz's spiky guitar lines to spruce up a solid midtempo rocker. Hinz continues to be Maritime's secret weapon, his angular, high-on-the-neck playing adding post-punk bite to songs that occasionally lean a little bit too heavily on mood and ambiance. Von Bohlen's increasingly self-possessed vocal style flatters his writing immensely here, as lines that previously might have seemed offputtingly precious now register as winks and not whimpers.
That Maritime have released their third straight solid record is encouraging, but no longer particularly surprising. Yes, a high-profile indie rock pedigree can be an albatross; but it's also a pretty good indicator that a band will have the experience and foresight to weather unreasonable expectations and fight the good fight. Maritime's musical development has become a compelling narrative of its own, each subsequent record in many ways both improving upon and elucidating the last.
