Self-Released – Release Date: 3/22/24
While it’s been over five years since they released new music, Restorations have returned with a new sense of focus and sounding like they were never on any sort of hiatus. This self-titled record takes elements from each of their previous full-lengths and adds a host of new ideas, resulting in the band’s strongest and most confident album yet. The first song, “Field Recordings,” manages to contain most all of the record’s positive traits. It has a unique structure that doesn’t follow typical patterns, a multitude of layers and expert use of dynamics. It also highlights their distinctive ability to sing about timely social issues, but do so in a way that’s not obvious. The song even finds a way to incorporate an anthemic chorus and closes with an outro of guitar leads that wash over the listener like repeated waves.
“Film Maudit” features a slight folk vibe in its guitar work, but is contrasted with a persistent, head-bopping rhythm. There’s also a serene part in the middle section, where the song quiets to just a clean guitar lead. It’s here that the track almost shifts entirely, but it’s flawlessly executed and doesn’t seem disjointed in any way. The vocal range of singer/guitarist Jon Loudon is on display throughout, with lyrics that talk about abandoning a fight you can’t win. It doesn’t advocate giving up, but instead expresses a desire to simply no longer play the game. “Big, Dumb” begins with an electronic intro and random background noise that eventually segues to a soft piano section. After a few bars the entire band comes careening in and is rocking out at full force. Loudon sings, “Aren’t you tired of being lonely? Aren’t you tired of being mean?” and it rings like a snapshot of our everyday life. Other standouts include the fuzzy riffs on “Cured,” the layered backing vocals in the chorus of “800” and the overlapping guitar leads on “Someone Else’s Dream.”
The album’s last entry, “Charm,” appropriately presents a reflective tone. There’s a static-like effect on the vocals in the verse, which possibly symbolizes distractions or outside noise. However, undistorted vocals emerge in the chorus and provide clarity. The lyrics have a sense of longing for the simplicity of the past, but at the same time knowing there’s no going back. The song fittingly ends with Loudon repeating, “Don’t look away now,” urging the listener not to be afraid of embracing the future.
It’s a rare feat when a band can take this sort of break and resume without skipping a beat, let alone create their defining record. Restorations have somehow done just that and their return is undoubtedly one of the most welcomed surprises of the year.
