I'd be lying if I said that the first offering from San Diego's Pinback since their previous release back in 2004 caught my ear immediately. What Autumn of the Seraphs delivers is simply too much to absorb in one listen, and that's the key to really getting a feel for what this album has to offer.
 
The tone is set early with the up-tempo opener ‘From Nothing to Nowhere’, simple backing and catchy ostinatos the theme. From here the listener travels through various styles: funky bass-driven tracks such as ‘Barnes’ and ‘Devil You Know’, as well as climactic ballads ‘How We Breathe’ and ‘Walters’ along the way. ‘Torch’ proves Pinback’s versatility, adding swing to the equation, prior to ‘Off By 50’ demonstrating they can close an album as well as they open one. All in all a fine mix of ups and downs that make for quite the well-rounded album.

What amazes most though is that with every rotation there is even more to take in. So many subtleties lay deep within the cascading melodies, at times making it a challenge to decide which section to actually focus on. By concentrating less, the fact there is so much complexity within a single octave becomes more enjoyable yet still retains presence. The extensive use of backing vocals and harmonies, although far from excessive, add further depth to the already complex musical mix.

Lyrically the album is quite poetic in places, with many sections clever in ways that test the normal rhythmic boundaries – raising questions as to whether it was lyrics or vocals first for Pinback. The chorus of ‘Blue Harvest’ is a classic example, somehow blending a rapid rate of syllables with a slowly drawn out vocal backing. And that’s not to mention that even the drums sound tuneful at that stage in the track. Although lyrical interpretations should be approached with caution, it seems unlikely that ‘Good to Sea’s "Oh no, I hit rock bottom" before the "It's how we breathe underwater" of the following track, ‘How We Breathe’, is purely coincidental.
 
For an album that was recorded in the duo's home studio, the tracks have also been mixed incredibly well. Those opting to listen on a decent set of headphones will be treated to a crisp sound where not an inch of space in the stereo spectrum is misused. Those who choose to listen on a stereo won't be disappointed either, just be sure to turn it up loud enough to invoke your neighbour's curiosity.

In essence, the creative core of the band, Rob Crow and Zach Smith, certainly show their ability to pack what could have passed as four seasons worth of catchy motifs and layered melodies into a single collection of 11 tightly interwoven tracks. It is impossible to stress enough that the album is musically dense, but not in a way that gives the impression of trying to do too much in too small a space. Every note is given reason, every song purpose. As a result, any and all time spent absorbing this album certainly won't require much justification. Plus, any band that comes out of the US and uses the word "Autumn" instead of "Fall" gets my vote any day.