I’ve had a close affinity to The Ataris ever since my ears first heard the initial strains of their amazing ‘Blue Skies…’ record at the arse end of 2000. While listening to that record I struggled to cope with the end of a relationship and every single word that Kris sung, I could sing back and know that he was singing to me. Every single word was just how I was feeling, all the strains of desperation, all the words – this was me. I’d never come across a band as personal before, and every single second was etched onto my brain. Ever since then I’ve followed the band like a little lost puppy and bought everything they’ve ever released. I was initially disappointed when ‘End Is Forever’ was released, realising it wasn’t ‘Blue Skies…’ mark II and again when I heard the band had signed to Columbia, worried that Kris might drop his morals and ‘sell out’ to the masses. I needn’t have worried mind, because ‘So Long Astoria‘ is a great album and there’s no visible sign of the band bowing down to the almighty dollar. Sure, it’s no ‘Blue Skies’ but we already knew it wouldn’t be. Instead we have an album that has all the hallmarks of The Ataris, plus an added maturity which builds on ‘EIF’.
On initial listens it would be easy to be disappointed. The number of obvious hits is low on the finger count (ie there’s no ‘San Dimas’) with many of the tracks slow burners that take a while to become classics. But give this record time and you’ll come to love it like the rest of their back catalogue. The album kicks off in amazing style with the awesome ‘So Long Astoria‘. A homage to 80’s culture (a recurring theme on this album) and containing references to The Goonies, the song is driven, forceful and hummable beyond belief. There is no better way to start the album and on listening for the first time it was the only song to give me goosebumps. ‘Takeoffs and Landings’ has a fantastic chorus and melody, combining some clever lyrics to form a track which is already becoming a fans favourite. It’s such a lyrical departure that it is a bit of a shock to the system – ‘So Long Astoria‘ is NOT an album about girls, instead we get more into Kris’ head, the married lyricist who has clearly grown up since he wrote the likes of ‘San Dimas’. This doesn’t mean he’s lost the knack of writing awesome songs that everyone can associate with. ‘In This Diary’, the lead-off single, is a fine blast of power pop that will be all over MTV like a rash. It’s anthemic and has singalong qualities – so far, so good.
‘Saddest Song’ is quite likely to split fans down the middle. You will either love it or hate it, depending on whether you can stomach a piano-led ballad. Personally I think that this is one of the best songs Kris has ever written. Sure, it’s not like anything they’ve done before, but lyrically it looks at Kris being an absent father. He sings from the heart and the emotion isn’t lost in the song as the chorus builds up and into a crescendo where you feel obliged to sing along with gusto. A true lighters-in-the-air moment. Unfortunately things go downhill a bit here. ‘Unopened Letter To The World’ is poppier than previous songs but doesn’t really hit the mark. ‘My Reply’ is also weaker than it should be. Written after Kris received a letter from a dying fan in Australia, this could have been so much better. Lyrically it reads as a returned letter, but it doesn’t hit the spot as ‘Saddest Song’ does. If this ever gets stripped down to the bare bones, just Kris and a guitar, this would possibly be amazing – but it’s “just hold on” chorus epitomises a weak ending.
‘Summer 79’ sounds like Useless ID…eek. It’s a mid-tempo song that isn’t one of the slowies and certainly lacks the drive and force of the opening three tracks. An album that was heading for five stars suddenly starts to slip. ‘The Hero Dies In This One’ starts off with a a weird effect before chugging away at mid-pace. Again it’s not a standout, although the clever chorus does gain brownie points and the repeated “stay who you are” outro does redeem it somewhat. ‘All You Can Ever Learn Is What You Already Know’ kicks and drives like many of the songs from ‘End Is Forever’, it’s good but not an Ataris classic, unlike the awesome cover of Don Henley’s ‘Boys Of Summer’ which is absolutely phenomenal. Another nod at the 1980’s, something which Kris does often, the track is recorded as if the band wrote it themselves. Don is given a good kick in the arse and a good song is made into a great one. You will have this on repeat way into the summer.
Re-recorded after it originally made its way on to the internet, ‘Radio #2’ on first listen isn’t as good as the original offering. But give it some time and it fits as snugly onto the record as a glove. It’s interesting to note the change in lyrics right at the beginning, with “you bring the explosives” replaced with “you bring your guitar”, perhaps the only obvious record company intervention on offer. The promo copies of the record feature ‘Beautiful Mistake’, but this has since been replaced with fans favourite ‘Looking Back On Today’, which leaves the cool ‘Eight Of Nine‘ to finish the album off. Again it hints at a step up from the type of songwriting on ‘End Is Forever’ and is typical of how The Ataris have moved on since their last offering in 2001.
If you want a sequel to ‘Blue Skies..’ then ‘So Long Astoria‘ will be a kick in the teeth. Principally this record is like the best moments from ‘End Is Forever’ written three years on – an album sure to gain them lots of new fans and propel them into the punk premier league with a record which demands your time and attention. It’s more grown up than anything they’ve done before, without moving away too much from the blueprint which made them such a fantastic band in the first place. A good record, not their best, but one every Ataris fan should make room for in their collection.
www.ataris.com
Paul