To start, since Exit Decades has become a quick favorite of mine over the past month or so, if we had ‘half-gears’ here on Automaton Industries, I’d probably give this record a 3.5 out of 5, but, all said and done, it is not quite deserving of a 4. Kicking the record off in a curiously similar light to Bloc Party’s Silent Alarm, Cut City seem unsure over the course of this album whether they’d prefer being lumped in with the contemporary British artists of esteem or their 80s punk influences, most notably Joy Division. While they excel at the styles they explore on Exit Decades, and, for the most part, the record flows quite seamlessly, I can’t help but get the impression that once they settle on a delivery that these young upstarts from Göteborg will produce a damned fine album, one I wouldn’t hesitate for a second to give a 4 or better. The fact that Exit Decades is not that record shouldn’t deter anyone at all from investing in it, the album, despite it’s hazy focus, is still a quality addition to one’s collection.

Opener “Like Ashes Like Millions” shows that Exit Decades, even when treading ‘au courant’ paths, seems to lean more towards the nostalgic approach of bands like Wire (especially 154-era) and Joy Division, not only in the compositions’ arrangement, but in their production. “Anticipation” and “Damaged” take this tact a few steps further, the latter sounding like an unaccountably overlooked track from the Closer sessions. After this reminiscent halfway point comes “Such Verve” and “Rival Trial”, two exceptional tracks, but ones that feel strangely distanced from their predecessors. While the production remains the same, the manner of delivery is far more in line with the 80s throwback bands making waves today. And, once again, the record shifts gears in its closing moments. The ‘ever pushing forward’ pace slows and dissipates into the contemplative “Just Pornography (For M.E.)”, which, in turn, colors the more direct closer “The Dull Miles (Exit Decades)” in darker, more introspective shades, especially noticeable in final section.

While the album has its disassociative qualities, instead of being a difficultly this facet hints at the extensive potential that Cut City possess. There’s not a bad song on this record. Once the band decides whether they’d prefer being Ian Curtis’ disciples or fall closer to Interpol’s approach, they will create something that will excel this fine album. Hell, even if they never ’settle down’ I’ll still be buying their records.