From opener ‘Forget’ beginning with a simple minor chord hook, the twin influences of Alchemy Index/ Beggars era Thrice and some of The National’s later work are immediately present, particularly so in the style of drums played and their counterpoint to the main body of their respective songs. Gates’ drummer Daniel Crapanzano seems to be channelling both Riley Breckenridge and Bryan Devendorf in equal measure, and to great effect, giving an energy and urgency to the collection of tracks that follow, characterised for their mostly understated instrumentation.
However, it isn’t until ‘Eyes’ that the band start to cut loose from the sparsity of the opening tracks, the synth-heavy middle eight serving as a welcome reprieve from the introspection that preceded. The (admittedly few) heavier moments that follow on ‘Parallel Lives’ really do offer the shift in gear that is needed to let the quieter side of the record stay quiet.
In an album wrought with lyrics bordering on the literary, ‘House & Home’ is a particular highlight. It is the first time that frontman Kevin Dye’s narrative voice rises to the forefront of the recording, soaring over the gentler acoustics of the track, and showcasing Kevin’s penchant for storytelling.
By the time that title track ‘Parallel Lives’ rolls around (altogether too soon), it acts as both a thematic closer of the record and somewhat of a sonic departure- it is notably heavier than the rest of the record, the rhythm section underplaying to thunderous effect, while layers of delayed guitars and vocal harmonies drowning in reverb continue to pile up on each other in a slow building, and ultimately huge-sounding crescendo.
While Gates do not reinvent the wheel with ‘Parallel Lives,’ there is a lot to love about this earnest and well composed record, decorated with nuanced and intelligent instrumentation. Let it soundtrack your summer’s mornings after and grow with you into the coming winter’s morning commutes.
DAN SOLOMON