Chicago’s dark indie pop trio Moritat keep things pretty simple on their debut EP, One Minute Fade. Armed with only a keyboard, bass, drums and the occasional guitar, the band attempts sprawling keyboard-lead journeys as front woman Venus Laurel leads the way with her subdued yet effective vocal stylings. While the first half of the record comes off as a band meandering and still trying to find their sound, a much more lively second side of One Minute Fade save the EP and prove that Moritat can indeed pen somber and minimal pieces that are truly ethralling.

A plucky, heavy bass two-second introduction to One Minute Fade‘s first track, “A Thousand Time”, really lead me to believe the song was headed in one direction when, in fact, it definitely was not. That little post-punk bass wallop? Turns out the song is a much more ballad-y, keyboard swirling Panda Riot-esque epic. The song slow walks along until the four minute mark when a break down leads to a much more lively conclusion.

That pretty much sums up about the first half of One Minute Fade. “Blue Eyes” slow burns from a lurching build up to another lush and melodic chorus full of Dresden Dolls-esque melancholy. Despite its name “Jeff Buckley 1997″ doesn’t recall the early 1990′s singer-sgonwriter, but it’s a droning instrumental with dirty guitar and synthesizer swells that probably represents his final moments of life. These songs are completely fine in their own right, but when compared to the EP’s second half, they sound much less focused.

Beginning with title track “One Minute Fade”, Moritat beef up their energy. The track opens with more optimism via a harpsicord-toned keyboard line, while bassist Konstantin Jace does his best Colin Greenwood impression with a sturdy bass line that leads the song to a smooth bridge. Additionally, Laurel offers her strongest vocal hook of the record here as she passionately sings, “I don’t know/ Why you don’t know/ You don’t know” before unleashing an angsty howl that then brings the song to its extremely uplifting finish. The difference between this song and the three previous is that here, Moritat sound more energetic and capable of writing smart dark-pop gems. The music doesn’t wander and builds to a very satisfying yet tension-filled conclusion.

“Pregnant Ladies” is a group-sang whirlwind that, for the first recognizable time on the record, guitar is highlighted over keyboard. Even more intriguing is all the song’s twists and turns from distressed indie-anthem to laid-back beach rock to urgent post-punk start-stop riffage over drummer Corey McCafferty’s commanding back beat really work together. One Minute Fade closer, “Blind”, begins with a false intro before turning into a galloping indie rocker with Laurel letting her voice fly over the dissonant and noisy chorus.

Perhaps One Minute Fade could have benefited from a more effective track sequence. All the more introspective and slow movers are stuck at the top, while the songs that offer a more authentic edge are tacked on the second half. Still, the second half is quite impressive, and I’m not sure if these songs were written at different times in the band’s existence, but the latter tracks brim with confidence and focus. When Moritat delve into their more edge-y and angsty side, One Minute Fade really comes alive and engages the listener with its delicious dark pop minimalism.
_____________________________________________________________________________________________

Catch Moritat on Friday, July 16 at Cole’s!

______________________________________________________________________________________________

Moritat – “One Minute Fade” – Live at Double Door – June 10, 2010