American Reclamation

Orchestral rock bands that aim for self-aware sophistication all too often overshoot and land somewhere in the realm of sophomoric self-indulgence. Not Dust On The Breakers. The Denver band’s debut EP, American Reclamation, which comes after years of sporadic shows around town, is a blend of folk-rock restraint and electric, multi-instrumental flourish. It’s ambitious, but never overbearing—a tough balance to achieve.

Finding that poise involves a lot of extra help to flesh out the Breakers’ core lineup (past guests include locals Elin Palmer, Joseph Pope III, and Patrick Meese). But it’s not that there’s a paucity of talent to begin with—DOTB’s core of Tim Husmann, Jeff Linsenmaier, and Jeff Davenport have collected résumés that span from The Czars and D. Biddle to Porlolo and Munly.

American Reclamation boils the Breakers’ first four years down to a five-song introduction, simplifying its many incarnations and sounds into a graceful and effective orchestral-folk. “Frontiers” starts by wallowing in a gloomy sweep of acoustic guitar and piano, then shakes itself into some pristine folk-pop. “Charred Metropolis” mixes acoustic guitars and violin with rumbling drums and enough large-room ambience to inject a brooding beauty into the track. The coupling of “Quiet, Please” and “Quiet, Please Redux” brings all of Dust On The Breakers’capabilities into play, from stretches of droning keyboards and gossamer guitar melodies to the twilight atmosphere of vocalist Anna Slade’s layered melodies. 

A lot unfolds on American Reclamation, but DOTB doles it out with a gradual, artful hand. It’s this slow restraint that proves to be Dust On The Breakers’ most effective tool in crafting a grandiose debut.