Helicopter Helicopter - Wild Dogs with X-Ray Eyes

Helicopter Helicopter
Wild Dogs with X-Ray Eyes
Initial Records
Grade: A-/A

There are not enough words in the English language to give due praise for Helicopter Helicopter on Wild Dogs with X-Ray Eyes. Or maybe, more significantly, there are not enough quality words in the description of a sound that is just so right, so good, that it is hard to define. The ancients like Plato and Aristotle had a similar problem (see the Timaeus) and they would have likely failed here (after they understood how sound was coming out of these black boxes). Yet, I will try to muster something with explanatory and descriptive power.

Before the superlatives, here is the run down on H2. The four-piece come from Boston where they have reigned supreme for about five years. After several releases on upstart Boston label Lunch records, Initial managed to score them for this record; much in the same way with the beginning of BoySetsFire on Initial. While the song construction is good on its own right, H2 weave sweet melodious indie rock with some hard rocking elements. However, the true juiciness comes with the multi-layered singing of both Chris Zerby and Julie Chadwick. Oh, God, how excellent. It's like taking Park Ave. and giving them some serious rock abilities. Just writing this short characterization gives me chills. Onto the dogs.

Wild Dogs with X-Ray Eyes starts with "Helicopter Fight Song," which serves as a good introduction for what's to come. That is, light poppy and catchy rock verses moving to cascading and building instruments and vocals on the chorus. True to form, H2 possess some of the best bridges and breakdowns in the business. The opening is followed up with the Tom Petty-laden (circa 1990) "Harsh Light." Again, delightful verses moving to a memorable and melodious chorus. "Talented Socialites" comes in with swirling guitars and poppy vocals by Zerby, soon enough joined by Chadwick. Yet, the magic of the song comes at the end with the refrain "you are talented socialites." After the quietly compelling "The Devil," H2 pick things up again on "1234." "1234" has the ability to bring tears to your eyes and chills to your spine when played at a high volume, so be warned. Lead by an uptempo Chadwick, "1234" has everything you want in a song, including a bass solo breakdown. Though a comparatively short number, it packs quite a punch. "Like Detroit" comes at you as a creeping nightcrawler of guitars, vocals and drums. The catchy "The Misfit" only wets your mouth for the catchier "Talk the Flyer Down." Before the finale, "Time Machine" grabs your ear and illustrates H2's consistency. Like on the many of the other tracks, "Time Machine" includes a dazzling breakdown before for the climax. The record's finale is "Waves Roll Into Boston." Coming in like an electric guitar wave, the song builds slowly with a single guitar matched by a fluttering guitar then some drums and bass. As the song builds, the tension builds and finally explodes into an inspiring chorus that you are not likely to easily forget. When the song and the album ends and has you dreaming of more, you realize you have just witnessed one of the best records of the year if not of the decade!

In my meager attempt to demonstrate the brilliance of this record, I hope I've at least developed a festering interest. Surely, if Wild Dogs with X-Ray Eyes does not go platinum in the first week is should be deemed a crime against all that is good and right in the world. Don't be a fool (cause I pity the fool) and miss out on experiencing this sensation and catching Helicopter Helicopter live.