Second Spring

Nathan and Patrick Meese have every reason to be fed up with commercial-radio alt-pop: The brothers’ previous Denver band, Meese, played that sticky-sweet, heartthrob pop that was designed for radio superstardom. It almost happened, though the band’s run on Atlantic Records ended in gigantic disappointment for all parties involved. So much for playing by the rules.

With their new outfit, The Centennial—which Patrick’s wife Tiffany rounds out—the Meese brothers toss the notion of commercial availability out the window. More accurately, they let it fade into the haze and atmosphere that defines Second Spring. Although the songwriters’ pop sensibility remains intact, it’s pushed deeper into the heart of the song, as chiming guitars, male/female vocals, and sparse arrangements define the six-song effort. This isn’t the kind of album assembled to leap out of a drive-time broadcast and provide a distraction from traffic, but one that’s meant to be sheltered and nurtured in the quiet of your bedroom.

Second Spring certainly isn’t groundbreaking. Its minimalist fragility and rainy-day haze make comparisons to contemporaries such as The Xx and Hurricane Bells almost inevitable, and the songs’ light touch makes The Centennial come across like School of Seven Bells tracks with all the synthetic elements scraped out, leaving holes gaping. If it’s not groundbreaking, that’s still good company for The Centennial to find itself on its debut EP. The trio’s at its best when indulging in huge-room reverb and the weight of atmospheric space, as with “1988” or the title track. The Centennial stumbles and gets a shade schmaltzy when playing more straightforward, acoustic-guitar centered numbers, like “Sleep When We’re Dead” and “Mt. St. Survival.”

Nathan and Patrick’s brush with the industry might have weaned them of their desire to make radio-simple ear candy, but it hasn’t soured them: Second Spring is the sweetest the brothers have sounded yet.