Dryvetyme Onlyne

Local Natives
Gorilla Manor
Frenchkiss; 2010

Guest Contributor: Jen Broadwell

As if to say, “Let me introduce myself,” each band mate claims one of the staggering instrumental entrances of the opening track “Wide Eyes.” The simple, repeated melody of the guitar precedes the drums, the rhythm guitar, the percussive components, and finally the keyboard. It’s a creative way to say, “Hi. Here we are. Come, listen, and please buy our album and share it with your friends.” Gorilla Manor is the debut release by the deliberately redundant Local Natives. A mature blend of wistful symphonic euphony and inimitable drum patterns have generated predictions of widespread recognition for the five-piece indie rock band from Southern California.

“Wide Eyes” leaves its meaning to be interpreted by its listeners. Reflection on the unfortunate or otherwise unusual events one has witnessed with his or her “own eyes” is given as the gist. The rest is a picture in our head. For instance, when I hear “Quietly he sat between the fold of a tree trunk,” I see the ill-fated circumstance of a homeless man sleeping under a tree. The next message is similar in that it is applicable to different situations. “Airplanes” plays out as one party’s yearning for the reunion of a terminated romantic relationship. In actuality, keyboardist Kelcey Ayer wrote this song in admiration of his great-grandfather whom he never had the pleasure of meeting, but had an influential effect on his life nonetheless. The arty array of cymbals and strings compliment the consistent drums present in his narration.

A cover of The Talking Heads’ “Warning Sign” and the charming “Shape Shifter” aptly display the Local Natives’ remarkable three-part vocals. In addition, the latter track has flourishes of serene piano chords and pulsating ethnic beats. The less innovative but more rapid and straightforward drum beats coincide with the few guitar-supported songs, including “Camera Talk.” The camera talks, so to speak, by capturing moments which trigger memories and stories of the past. Two old friends frolic about enjoying the company of each other after a long time apart. Mischievously, they run through church aisles and disobey curfew, but it’s alright because “The camera’s talking.” They appreciate their opportunity to romp about by acknowledging that “These times are worth working for.”

The soulful “Cards And Quarters” and the orchestral “Who Knows Who Cares” serve as chances for a bit balladry and to provide some overall variety. With the brisk songwriting and detailed instrumentation of Gorilla Manor, it’s no wonder these West Coast talents have been invited to join Passion Pit and other original bands on Frenchkiss Records. Local Natives have pioneered a captivating new age sound tousled with string arrangements, assorted percussion, descanting keyboard segments, and beautiful harmonies. With the anticipation over this album and the buzz surrounding their live performance, it is expected that the guys of Local Natives has a big year ahead of them.

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Jen Broadwell is a music blogger from Houston, TX who runs the site Music Artiste. She enjoys attending local show and writing scene reviews and interviews. She also enjoys indie festivals and national indie shows and often posts her thoughts on such events, along with new music videos. Since her hobby doesn’t pay the bills, she works for the University of Houston in Development.