Autolux (Carla Azar: vocalsldrums, Greg Edwards: vocalslguitar, and Eugene Goreshter: vocals1
bass) produced Transit Transit themselves with Edwards serving as engineer. It was recorded in
the band's studio, Space 23, located near downtown Los Angeles. The album begins with it's title
track, an utterly unique concussion of rhythm, created from a looped sample of an old freezer
slamming shut and a simple round of chords from an upright piano. The hypnotic density of the
vocals and organic futurism of the instrumentation instantly rearranges any preconceptions about
the 'autolux sound'. "Census" and "Supertoys" play like the logical evolution and refinement of
Future Perfect, delivering propulsive grooves and atmospheric chord changes, while "Highchair"
combines a simple, yet effective drum machine beat with tympani-esque tom overdubs to create
an orchestral lo-fi dance track. There is a notable sonic progression throughout Transit Transit:
vintage synthesizers and manipulated ambience glue central song components together, several
tracks are built around piano, all three members take turns with lead vocals, harmonies are
abundant, and there is even a bit of trumpet. Ultimately, Transit Transit is propelled by its
individual members' strengths, coalescing into beautiful, complex songs. Goreshter continues to
innovate his bass style, effortlessly modernizing the instrument's melodic role, while still providing
an on-edge rawness and groove-filled momentum. Edwards' guitars serve to modulate the moods
throughout the record, constantly evoking feelings found in the space between emotions. And
Azar's sturdy, creative drumming (a phenomenon to behgld QII stage) c~ntinue2o n record with
plenty of hook beats - ferocious and delicate, at once.

NME buzz band Autolux come on like all the best parts of My Bloody Valentine, Neu! and Sonic Youth, played with a core of dreamy melody by this enigmatic LA-based three piece.

NME buzz band Autolux come on like all the best parts of My Bloody Valentine, Neu! and Sonic Youth, played with a core of dreamy melody by this enigmatic LA-based three piece.

Autolux (Carla Azar: vocalsldrums, Greg Edwards: vocalslguitar, and Eugene Goreshter: vocals1
bass) produced Transit Transit themselves with Edwards serving as engineer. It was recorded in
the band's studio, Space 23, located near downtown Los Angeles. The album begins with it's title
track, an utterly unique concussion of rhythm, created from a looped sample of an old freezer
slamming shut and a simple round of chords from an upright piano. The hypnotic density of the
vocals and organic futurism of the instrumentation instantly rearranges any preconceptions about
the 'autolux sound'. "Census" and "Supertoys" play like the logical evolution and refinement of
Future Perfect, delivering propulsive grooves and atmospheric chord changes, while "Highchair"
combines a simple, yet effective drum machine beat with tympani-esque tom overdubs to create
an orchestral lo-fi dance track. There is a notable sonic progression throughout Transit Transit:
vintage synthesizers and manipulated ambience glue central song components together, several
tracks are built around piano, all three members take turns with lead vocals, harmonies are
abundant, and there is even a bit of trumpet. Ultimately, Transit Transit is propelled by its
individual members' strengths, coalescing into beautiful, complex songs. Goreshter continues to
innovate his bass style, effortlessly modernizing the instrument's melodic role, while still providing
an on-edge rawness and groove-filled momentum. Edwards' guitars serve to modulate the moods
throughout the record, constantly evoking feelings found in the space between emotions. And
Azar's sturdy, creative drumming (a phenomenon to behgld QII stage) c~ntinue2o n record with
plenty of hook beats - ferocious and delicate, at once.

NME buzz band Autolux come on like all the best parts of My Bloody Valentine, Neu! and Sonic Youth, played with a core of dreamy melody by this enigmatic LA-based three piece.

Autolux (Carla Azar: vocalsldrums, Greg Edwards: vocalslguitar, and Eugene Goreshter: vocals1
bass) produced Transit Transit themselves with Edwards serving as engineer. It was recorded in
the band's studio, Space 23, located near downtown Los Angeles. The album begins with it's title
track, an utterly unique concussion of rhythm, created from a looped sample of an old freezer
slamming shut and a simple round of chords from an upright piano. The hypnotic density of the
vocals and organic futurism of the instrumentation instantly rearranges any preconceptions about
the 'autolux sound'. "Census" and "Supertoys" play like the logical evolution and refinement of
Future Perfect, delivering propulsive grooves and atmospheric chord changes, while "Highchair"
combines a simple, yet effective drum machine beat with tympani-esque tom overdubs to create
an orchestral lo-fi dance track. There is a notable sonic progression throughout Transit Transit:
vintage synthesizers and manipulated ambience glue central song components together, several
tracks are built around piano, all three members take turns with lead vocals, harmonies are
abundant, and there is even a bit of trumpet. Ultimately, Transit Transit is propelled by its
individual members' strengths, coalescing into beautiful, complex songs. Goreshter continues to
innovate his bass style, effortlessly modernizing the instrument's melodic role, while still providing
an on-edge rawness and groove-filled momentum. Edwards' guitars serve to modulate the moods
throughout the record, constantly evoking feelings found in the space between emotions. And
Azar's sturdy, creative drumming (a phenomenon to behgld QII stage) c~ntinue2o n record with
plenty of hook beats - ferocious and delicate, at once.