10 Songs, 35 Minutes

EDITORS’ NOTES

From early incarnations of the Byrds being described as “America’s answer to the Beatles” to the Dandy Warhols churning early ‘90s Britpop into their own sound, Anglophilia has become a musical genre. Like Interpol or the Rapture, Brooklyn’s Atomic Tom borrows various elements from guitar-based dance-pop bands like Bloc Party, Franz Ferdinand and even Duran Duran to birth an elegantly crafted album that also resonates with bigger brawnier tones. The Moment was tracked in a small New York apartment, but the bouncy opening song “Let Let Go Tonight” reveals a huge, wide-angled sound that could have been recorded at Abbey Road. The title-track jangles and chimes with the mysterious romanticism of the Church’s 1986 opus Heyday, while Atomic Tom’s frontman Luke White croons with a demure cool reminiscent of Richard Butler from the Psychedelic Furs — though there are moments when he can belt out near-falsettos à la Robert Smith from the Cure. “Take Me Out” starts like Pulp’s “Common People” before the band takes over and turns the tune into something more driving with muscled guitars that chug like the engine of a 1967 Camaro.

EDITORS’ NOTES

From early incarnations of the Byrds being described as “America’s answer to the Beatles” to the Dandy Warhols churning early ‘90s Britpop into their own sound, Anglophilia has become a musical genre. Like Interpol or the Rapture, Brooklyn’s Atomic Tom borrows various elements from guitar-based dance-pop bands like Bloc Party, Franz Ferdinand and even Duran Duran to birth an elegantly crafted album that also resonates with bigger brawnier tones. The Moment was tracked in a small New York apartment, but the bouncy opening song “Let Let Go Tonight” reveals a huge, wide-angled sound that could have been recorded at Abbey Road. The title-track jangles and chimes with the mysterious romanticism of the Church’s 1986 opus Heyday, while Atomic Tom’s frontman Luke White croons with a demure cool reminiscent of Richard Butler from the Psychedelic Furs — though there are moments when he can belt out near-falsettos à la Robert Smith from the Cure. “Take Me Out” starts like Pulp’s “Common People” before the band takes over and turns the tune into something more driving with muscled guitars that chug like the engine of a 1967 Camaro.

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