We're seeing it more and more these days: former members of hardcore and emo bands, suffering creative constriction in their original genres, venture into pop and alt-country as a means of exploring the more complicated arrangements they crave. The worst of them are the musical equivalent of square pegs jammed into round holes, overtaxing limited skills in the service of overly ambitious songs. El Oso don't fall into that category; while they make no attempt to hide their hardcore roots, they seem determined to transcend them.
El Oso's sound is quintessential singer/songwriter pop -- there's a bit of country/folk twang for flavor (see "Julie Ann Fitzpatrick") and some electronic filigree to add that essential Postal Service edge, but most of the time, Whichever Chapter Covers Now is earnest and earthy. You may notice a fleeting resemblance to The Good Life's mellower work; like Tim Kasher, vocalist/guitarist Jim Hanke pushes his voice a little further than a conventional singer would, yielding that slightly strained, almost-off-key sound we all associate with "emotional" rock. Fortunately, it doesn't happen all the time, and doesn't always stick out when it does. Although "Country Radio" makes no secret of the singer's pedigree, "Natural Life" supports Hanke with a well-structured melody and a backing chorus. Closer "Bury It And Smile" comes up with an even more novel solution: Hanke simply puts more muscle behind his vocals and hits his marks more confidently. Perhaps he had time for a couple of voice lessons between recording sessions. (Incidentally, it's important to stress that Hanke's vocals never actually harm El Oso's songs; his emo inflection is more tolerable than most.)
Despite its modest flaws, Whichever Chapter Covers Now delivers a back-to-back pair of absolute killer tracks. "The Great American Novel" fits the loud/quiet/loud dynamic into a pop framework, pitting near-whispered verses against bold, exuberant choruses. There are enough good ideas here to fill two shorter songs, and although the emo trappings come out full force late in the song, they're delivered with rare and impressive passion. That said, "Tonight's Now Tomorrow" easily tops it, skittering forward on electronic beats, expanding into ever-mounting waves of guitar and keyboard melody. imagine Beulah covering OMD for a remake of Pretty in Pink, but punkier. It's an absolute treasure.
There's a lot to like on Whichever Chapter Covers Now -- not least El Oso's apparent desire to expand and hone their songwriting chops. Let's hope they have a long, happy career in which to do so.
