The romantic edge to After the Last comes off as cool and dry as a desert night, like drinking a beer outside after the day's heat rolls off, with next to nothing going on. Languidly moving from one mid-tempo tune to the next, it's an album that has no surprises and better yet, no indulgences-- just a remarkably consistent debut showcasing tuneful alt.country.
Jason Lakis (ex-Half Film) fronts this Oakland-based act, contributing vocals and guitar; he formed the quartet with members of San Francisco's The Inspectors. They clicked right away, with rough guitar riffs and an impeccable rhythm section. Lakis' languorous pedal steel dominates every track it appears on, especially the opener "Spread Thin", but never detracts from how beautifully it blends with Daryle Goldbar's guitar and Wurlitzer, nor how smoothly it rides the crisp rhythm section.
Lakis also writes all the songs, which are as tasteful as the band's sound: the easy melody of "Spread Thin", the riffs of "Subject to Change" and the series of great choruses all get better with every listen. The only cover song-- Bad Brains' "Sailin' On"-- could have been just a "punk meets country" novelty track, but the Red Thread perform it as naturally as if they'd written it themselves; Lakis pairs it with the album's only other rocker "All In" before reverting to mid-tempo ballads. These guys are lovers, not fighters.
As might be expected, the record's steady pace reveals its shortcomings. Even the engrossing ballads are steady and distant; "Borrow and Spend" digs the deepest, even though it seems to need more-- more gutbucket vocals, or another wrap-up verse. Song after song, Lakis plays it cool, and it wouldn't even be a problem if it didn't highlight what's wrong with Lakis as a singer: we don't get enough of him.
Lakis has a smooth, masculine croon with a languid delivery and a touch of husk, the sound of a guy the men can drink with, and the women can giggle over. A random survey of nine out of ten female listeners would like to hear more of him, and maybe check out his butt, yet Lakis sits in the middle of the band rather than wearing his appeal like a pair of jeans. His vocals hang back-- he keeps his delivery consistent, and his voice mixed too low.
That may explain why this is a solid but not striking debut. The band hits its stride right away, and the songwriting is above average-- even the instrumental coda "Details", which could easily have sounded half-baked, flows perfectly to close out the record. Lakis and company hit the mark again and again, but it seems all too easy. By album's end you're already hoping they push into riskier territory the next time out.
