Air Traffic Controllers – Dash Review

Bold move as any to open with a jazz crescendo, but it is over before Air Traffic Controller knows it. Dash has a similar quality to that of Hot Chip records, or more recently the solo entry of Alexis Turner. That may sound complimentary, but the stubborn nature of that light-hearted, janky record still haunts the soul. Air Traffic Controller appear to have settled on a line-up, and crucially, a style, for their latest record. Dash does not offer pockets of greatness but does make for an interesting listen that has more than a few moments of grandeur. Inherent to these tracks is that sickly, upbeat optimism that inflicts pop-oriented tracks. Dash can never move away from its Sometimes influence.

That first track and single for the group has steered almost every style and choice they have made for Dash, a shame as there is more under that surface than colourful, light pop numbers. It all comes down, then, to which of those light pop tracks connect with an individual listener. Anybody Got A Light? showcases a loose and well-styled brevity, based more on its guitar quality than anything else. By the fifth track, Jimmy’s Song, it is relatively easy to accept that the brightness of Dash is here to stay and to accept it would be the responsible thing to do. They are reminiscent of a slower, more formulaic Parquet Courts in that manner. Bright colours, light and fluid motions, just lacking that excitement and forward push. Dash has some vaguely biographical moments that should have been exorcised in previous releases, yet here Air Traffic Controller are, lamenting the days of the past.

Annoyingly simple in its glib attempts to inspire, each track boils down to “Giving up? Try again!” which is neither helpful nor interesting. Broad messages are thrown out there with a complete lack of care for a situation. If an individual cannot be understood it should not be commented on. Dash fails to note that, though. It is the lack of clarity or cleverness to the lyrics here that are the real gut punch of Dash, especially on Jimmy’s Song and This Hell. How twee, how light, how utterly crushing it can be. No matter, Air Traffic Controller offer up a half hour or so of what they perceive the fixes of happiness should be. Deflating enough is that, when Air Traffic Controller latch onto something interesting like they do with Ferocious, they appear afraid of the consequences of drifting from the empty charms of their preceding songs.

Indie pop is a broad genre, so to plant the flag firmly in the surface, without exploring anywhere deeper, is a strange choice. Still, it gives Air Traffic Controller the broad appeal their music captures. They have succeeded, but it does not make their music anything different to what is already available. Hot Chip for those from Boston. It is impossible to form any strong opinion on music with the structure, sound and style of something passable. There is little else to Dash and that of Air Traffic Controllers. These tracks may be uplifted in a live environment, but they do struggle to leave any sort of statement beyond “be happy” here, which feels insulting when not commanded with better lyricisms or memorable instrumentals.