Los Angeles – In 2013, Australian band Atlas Genius, featuring brothers Keith and Michael Jeffery, exploded onto the scene with the infectiously catchy, “Trojans.” The hit song had percolated through the minds of many listeners over the course of the following year. Now the band is back with their next intoxicating single, “Molecules.” Easily just as appealing, the indie-electronic summer jam, “Molecules” has major hooks giving Atlas Genius a run for having the hottest summer song of 2015. I don’t think the band has strayed too far off their signature sound, but that’s a good thing. Inanimate Objects is out on August 28^th via Warner Bros. Records and serves as the suitable follow-up to their debut record, When It Was Now. After hearing the pure ecstasy “Molecules” has gracefully delivered, does Inanimate Objects match up to its hot single? You know, there’s not a single song here that tries to imitate “Molecules,” and surprisingly, that’s utterly refreshing as a whole album.

Inanimate Objects differs greatly from Atlas Genius’ introduction album. There’s something a little richer, a little darker here. They aren’t going full-blown gloomy by any stretch of the imagination, but these musicians are growing up. Atlas Genius is cultivating their artistry with more substance than style. The approach they are taking begins with “The Stone Mill,” a stunning, transfixing track. Keith’s smooth vocals are comforting over the soundscape that keeps building as the song progresses. Throw in some great guitar work half way through, you start to realize this isn’t the Atlas Genius you once knew. Atlas Genius is stacked with solid tracks on this record as “Stockholm” rolls in with much vitality. Keith Jeffery pours everything he has in the delivery of his vocals while brother Michael intermittently rocks hard on the drums. The hard, driving rhythm differs from the first tracks of the album, but once again Atlas Genius are taking some risks on their sophomore release. “Refugees” is a mighty jam, especially when kicked into high gear. The downright addicting chorus is beautifully delivered by Kevin’s attractive vocals. The track is certainly multi-layered; it has a lot going on and quite a bit going for it. “A Perfect End,” which ideally would have been the quintessential closer, really catches on about half way through. Atlas Genius uses it simply as a convincing way to pull you in, even when you’re unsure if it’s worth it. In the end, you’re happy they did.

“Friends and Enemies” slows the album down in the best possible way. The vocals and lyrics take the forefront, the background music is subtle but noticeable. This soothing rendition takes the listener by surprise that the band traveled down this road. With eleven tracks on Inanimate Objects, “Friends and Enemies” is a welcoming shift in direction. The detour stays on course with follow-up track, “Where I Belong.” It’s another reflective tune, but adds a little downbeat synth work to give it an extra push. “The City We Grow” brings the excitement back with a catchy beat, something that reminds me of The Airborne Toxic Event. There’s this intrinsically elevating quality to it. As the song grows deeper, the listener feels more attached to it. “Levitate” closes out the record and it’s the most stripped down song on it. A stimulating change of pace as the band find themselves to be contemplating a lot more for this go around. You have to admire where their heads are at, where their heart has taken them. Inanimate Objects gives Atlas Genius another run at a banner year into 2016. The deeper rhythmic sound, diversity found within each track, and improved lyrics, gives Atlas Genius an edge over their peers within the genre. The sound of Atlas Genius you thought you knew before has ripened into something worth holding onto for longer than you could have ever anticipated.

Check out Atlas Genius’ Facebook for more information on their upcoming tour with Passion Pit. 

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Sean Kayden

His father has always been an avid fan of 70s and 80s artists. He introduced Sean at an early age to the likes of many rock groups of that era. In the late 90s, Sean acquired a fondness for the likes of such alternative bands as Smashing Pumpkins, Goo Goo Dolls, and Red Hot Chili Peppers. In high school, he gravitated towards artists like Brand New, Saves The Day, and Fall Out Boy. As Sean entered California State University Fullerton, where he earned his BA in Radio/TV/Film, his music taste expanded to the realm of Broken Social Scene, The National, and Death Cab For Cutie. For as long as Sean can remember, he has always had the desire of launching his own stories that would someday be presented through television, film, and print. This form of expression continuously uplifts his spirit. Sean is a certified TRX fitness trainer and teaches group classes as well.

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