After a four year gap since their self-titled debut, The Dying Seconds return with a second album Glimmerers. Beautifully packaged and presented, it's a stylish, textured affair with plenty to offer, although ten tracks just shy of 40 minutes mean there are moments when it may seem slightly long-winded.
Opener 'Lavender' uses a light piano introduction, the dulcet tones of double bass and a coaxing vocal before a percussive tattoo whips in with the same rapid beat of a helicopter hovering overheard. David Cantan's vocal is clear and engaging from the outset, only hinting at the resplendence that lies ahead.
Followed by 'Mora Minn', a recent video/single release and the reference point for fans new to The Dying Seconds, it is still a standout track on this album as one that points listeners to the full artist scope and dream of The Dying Seconds, to merge melody with rhythm, harmoniously bond electronic flourish with simpler instrumental extracts.
Partnered to percussion and vocals in equal strength, 'Greenhorns' is less rigidly compacted into single form and has a broader reach, soaring. As another video release, 'Kid Logic' is the companion to 'Mora Minn', a soft and benevolent intro working into a simple but effective use of the snare for a catchy lead. This sharp tone is in turn balanced with delicate highs and friendly, expansive vocals.
While the songs of Glimmerers are carefully presented to please many type of listeners, there is a sense that, fairly enough, The Dying Seconds want the respect of their peers and to be taken as a serious band with the same potential as The National. They go towards this in considerable measure by way of very artful arrangements and attention to detail but there is always the danger of a lagging concentration span to contend. 'Tox' and 'Competitive Learning' are pleasant but unremarkable enough to fall prey to the later-stage dead-space syndrome of albums that have been written as cohesive wholes rather than a collection of potential singles.
In this way however, 'Scars' jumps out intending serious business with a return to the intuitive rhythms that bind The Dying Seconds' best work. And with only one more track to go, surprisingly more of the same follows with 'Ceramic', a huge, pummeling contender for Glimmerers' best track.
Having been hailed as hugely promising by The National's Aaron Dessner and referring to his band as a significant influence, it must be said that there is certainly a tip of the cap to America's gravel-voiced, rhythm-ravelled band of brothers at work here but The Dying Seconds have enough personality of their own to fare well in their homage. Coupled with a secluded nature and smoldering ambition, this six-piece band with the winsome handle of 'The Dying Seconds' have produced a fulfilling second album that should see them attract recognition and respect from fans of accomplished alternative music.
