The history of rock bands is littered with fossils of many that look just like this one: a bassist, a drummer, and a singing guitarist. Nothing more, nothing less. From the time when it was fashionable to call bands like Cream and the Hendrix Experience "power trios" through the 80s and 90s, when bands like Husker Du and Nirvana would have puked if you'd called them that, this efficient setup has bounced back and forth between the underground and the mainstream, trends permitting. These days, with the internet, file sharing, and instant word of mouth, there's hardly anything like an underground anymore, and just about everything is floating in some main stream or another, but the basic rock trio continues to prove that it's still possible to make a new recipe with the same exact ingredients people have been using for decades.
The Natural History seem quite comfortable with their three-piece setup, easing through a lightning-quick batch of snappy American Britpop tunes on their debut album like they've been doing it for years. The threesome is currently reaping a whirlwind of positive association with the nebulous Yes New York thing, which isn't really a movement, but kind of feels like one anyway. They had a track on the flagship Yes New York compilation-- "The Right Hand", included here-- and they've turned up on Star Time International, one of several tastemaker labels to spring up near the mouth of the Hudson in recent years.
Seems as though the table is set for the Natural History, and when folks get their ears on Beat Beat Heartbeat, chances are they'll dig right in. Really, there's almost nothing not to like here: punchy, semi-distorted guitars, memorable basslines, crisp drumming and vocals that sound a lot like Super Furry Animals frontman Gruff Rhys. Though the vocals are mixed too far down, and the production lacks the necessary pop to complement the band, this doesn't make the music any less invigorating.
Guitarist/vocalist Max Tepper can't seem to get Wales and Southern England out of his larynx-- he's just the latest in a long, long line of Americans who just can't help singing in an accent that doesn't belong to them-- but it fits the bouncy songs he's singing so well, it feels almost natural. Four of these songs aren't even two minutes long, but I have to say I'm glad the album only clocks in a shade under 28 minutes, because the recording makes it too monochromatic to endure for much longer.
Tepper's brother Julian anchors his stuttering guitar chords and wiry riffs with tastefully melodic basslines that occasionally make the difference between a boring song and a great one. "Run de Run" is a perfect example, Julian's line ricocheting off of Derek Vockens' strictly rhythmic drums for a feel that's a little bit Philly Soul, a little bit Disco Not Disco. "Watch This House" packs a ton of information into its minute and 43 seconds, with the guitar and bass moving in and out of step with each other while the drums stay utterly focused on the pocket. Max's falsetto may be the band's secret weapon, as his range helps make the melodies that much more memorable despite being hidden in the mix.
"Do What You Should" and "Hours of My Life" are the best back-to-back illustration of the Natural History's range, the former droning on a nervous guitar and bubbling, tense bass line, while the latter swings full on into a swaggering guitar riff and blaring choruses packed with mad strumming and big drums fills. It's that range that will make the Natural History a great band in the future if they learn to explore it (and make a recording that's more sympathetic to it). Beat Beat Heartbeat is a fun, guileless debut from a band with obvious reference points that nonetheless sounds pretty distinct. Something tells me their next move will amaze us.
