Electric Citizen – EC4

Formed in 2012, Electric Citizen, the inspiration for the band name, derived from The Edgar Broughton Band’s single “Death of an Electric Citizen” to the songs on the debut album "Sateen" set out their stall as an exceptional retro-sounding rock band

 

They released two more, very good albums on Riding Easy Records before being forced to go on indefinite sabbatical after lead singer Laura Dolan developed a melanoma and spent three years in treatment. That seemed to be it. If they had simply released those three albums, they would have left an impressive legacy. They would have remained a cult band, and (hopefully) their records would have been rediscovered and appraised.

 

Thankfully, they have made a surprising and welcome comeback, signed to Heavy Psych Records to release their fourth album “EC4”. The retro sound is as good as it's ever been. However, there are added elements to the reborn band. The first thing that strikes me is the addition of Eastern-sounding scales that are enhanced by Dolan’s ethereal vocals. That is not to say that the songs are primarily based on these elements. The riffs drip with 1970s tones, and the nine tracks are snappy, concise, and to the point. The longest song here, "Travellers Moon," at over six minutes, feels like an outlier but isn't particularly long.

 

Ross Dolan's guitar playing, riffs, and solos form the foundation of the album. However, the interplay of individual members' contributions, as well as the bond between the husband-and-wife guitarist and vocalist, is equally significant. For example, Nick Vogelpoh, who doubles on bass and keyboards. His approach to keyboards is excellent. Typically, if a band incorporates retro keyboards heavily, it follows one of two paths: Jon Lord (Deep Purple) or Ray Manzarek (The Doors). However, Electric Citizen, either purposefully or unconsciously, does not follow either path. The keyboard sound on this record screams Ken Hensley (Uriah Heep), which elevates the tunes enormously.

 

This album is less hard rock than their previous output and feels like a band exploring a different sound and developing a new identity.  Opening track “Mire” sets the tone for the album, incorporating all the above elements. Moving in a dream-like atmosphere. “Tuning Tree” steps back from out-and-out rock but can't be described as a ballad, taking on a more ethereal, spacey atmosphere.

 

The album is both retro-sounding and, in my opinion, rather mellow, with little distortion on the guitars and reverb-drenched (and occasionally double-tracked) vocals. There are exceptions to the rule, “Moss” rocks as hard as anything they have recorded, and “Other Planets” feels epic with its use of strings.

 

 At the very least, if you can get behind this less heavy-sounding mix of songs, it's a great record. Call it a comeback or a rebirth, either way, it is hard not to admire the band’s tenacity in starting from scratch to rebuild and fight for a career that was brought to a halt by health issues. I’m also a sucker for a meaty keyboard sound and its outstanding on this album. For that alone, I say a very well-deserved welcome back, and I hope this album finds its audience.

 

-Bobo Coen