We were a little late on the bandwagon, but Ought’s debut album eventually became one of our favorite releases from last year. More Than Any Other Day ended up securing a spot on our Best Albums of 2014 list on the strength of the band’s fresh and energetic approach to post-punk, with Ought showing a deft touch in their ability to combine several disparate influences into a coherent and unique style. Their follow-up finds the group settling into their sound, resulting in what initially seems like a more subdued effort. Though Sun Coming Down does not immediately grab the listener like its predecessor, there are enough intriguing elements to compel repeated spins to discover the album’s charms and nuances.
While More Than Any Other Day was characterized by its barely-restrained chaos and the ability to shift gears at a moment’s notice, Sun Coming Down finds that restless energy pushed to just below the surface. There are not as many sudden left-turns and fewer freakouts (and the ones that occur are pushed to the margins), as the band locks into grooves for extended stretches of time. The two tracks that form the centerpiece of the album, “Sun’s Coming Down” and “Beautiful Blue Sky”, are perfect examples of this new approach. The former is content to ride a slow burn and never fully release the tension created by its deliberate but incessant drive, while the latter floats over a more melodic version of the bassline of Television’s “Little Johnny Jewel”.
However, for many listeners, these are only subtle points of distinction–the band still features trebly guitars belting out dissonant chords and angular melodies that float over the top of the intricate interplay of the rhythm section. Oh, and of course there is still Tim Beeler’s unique voice and his dramatic approach to singing, though he is now credited as Tim Darcy. He still drops several brilliant non sequiturs that drip with irony and wit, such as the efforts to ape the banality of small talk in “Beautiful Blue Sky” with the repeated mentions of “Beautiful weather today”, “fancy seeing you here”, “how’s the family”, etc. When juxtaposed against the chorus of “I’m no longer afraid to die, because that is all I have left”, the emptiness of the platitudes are even more evident, and Darcy’s ebullient reaction of drawing out the word “yes” in response enhances the effect even more.
But that may be just because “I’m talking out of my ass, because my heart is not open.”