The Bay Area-based trio Topographies specialize in post-punk that hits the sweet spot between dancy and chilly. One can gyrate to the ten tracks heard on the band’s second full-length Interior Spring, or one can stand aloof, appreciating the atmosphere. Originality might not be the strong suit of this outfit (a particular predecessor does come to the fore), but Topographies have the moves down pat, and they pull it off without sounding imitative. The record is out on vinyl and digital February 2 through Dark Entries.
Ideal Form, the debut album by Topographies, came out in 2020 via the Funeral Party label, with a pair of 7-inch records and a few cassette EPs stretching their oeuvre back to 2018. One of those tapes offers a four song Part Time Punks session, its A-side holding two originals and the flip two covers of songs by My Bloody Valentine.
Their choice to play those MBV tunes has no doubt increased the frequency of the shoegaze comparison in relation to Topographies’ sound. Checking out the earlier material, the connection is clear, but having soaked up this new album, the shoegaze style is no longer a primary ingredient in their work. Instead, post-punk now dominates, and as said, with a big reference point sticking out.
The antecedent is The Cure. Topographies is guitarist Jeremie Ruest, bassist Justin Oronos, and vocalist Gray Tolhurst, son of The Cure’s Lol Tolhurst, so the similarity is understandable, but impressively, it doesn’t feel calculated. Obviously influenced by The Cure, Topographies won’t be mistaken for The Cure, in part because of a level of danceability that can bring New Order to mind, with this likeness felt in opener “Night Sea,” increasing in “Arch” and becoming even more apparent in “Cleanse” as the Cure-like aura also rises in that track.
Naturally, the use of drum machines deepens the general nods toward New Order-ish rhythmic propulsion, though as with The Cure, Topographies aren’t aping anybody’s sound. “Chain of Days” is dancy without bringing New Order to mind at all, instead diving into the chilly climes mentioned above. This coldwaveishness instills Interior Spring with a sense of tension (as opposed to a gloomy immersion), a quality that’s especially notable in “Never Understand” and the faster-paced title track.
If the drums are programmed, Topographies resist getting too synthetic, their work stopping short of indulging either side of the synth-pop hyphen. While there are a few sprinkles of keyboard glisten in “Tied” and elsewhere, and “1959” finds them at their most melodic, the gist of this record is just sturdy post-punk, Topographies preferring edge over smoothness, and that’s cool.
“Red-Black Sun” shows off their range a bit, delivering a worthy club-thumper for the disaffected set. The hardest cut to get a firm handle on is “Face of Another,” its swirly big-beat mid-tempo (which eventually speeds up) recalling The Cure again but also retaining just a smidge of those shoegaze roots. A closing standout, the track helps to establish Interior Spring as a solid effort, its contents boding well for Topographies’ future.
GRADED ON A CURVE:
B+
