Pitchfork

Oh, what a coy temptress is this Tokyo Police Club. With only about 20 minutes of released material under their belt, the band's snappy post-punk's generated a tidal wave of well-deserved hype, not to mention a juicy record deal with Saddle Creek. And as the indie world collectively holds its breath for the TPC full-length, they first punch us in the gut with the Smith EP, a three-song, eight-minute release that could pass for a free iTunes preview.

That's not to dismiss these Paper Bag-era odds'n'sods as mere detritus-- they're too finely tuned for that-- but what a disappointing time for these guys to clean out their attic. After debut EP A Lesson in Crime sweetened the twitchy keyboard/guitar melee of bands like Les Savy Fav and Enon into a more accessible sound, those two bands have seemingly returned the favor on recent releases Let's Stay Friends and Grass Geysers...Carbon Clouds, each ranking as the most straightforward albums in their respective band's career. Now, some fans fear TPC might continue their move to middle-- fthe Saddle Creek signing was followed by a recent tour with the painfully cardboard Cold War Kids.

Remember, though, this is the band that scored a Letterman gig with an oeuvre unable to outlast most people's morning commutes. The Smith EP won't outlast your walk to the bus stop. On EP opener and "Nature of the Experiment" B-side "Box", TPC once again hits pay dirt with a spring-loaded two-chord assault, an airtight technique most bands would've exhausted by now. Complementing the instrumental tension, bassist/singer Dave Monks' smooth croon cuts through the prickly guitars and squawking keyboard lines, albeit the loud-soft contrast isn't as compelling here as on the track's spectacular A-side. "Cut Cut Paste", a bonus track from the vinyl release of Crime, basically trims 45 seconds off the same formula, though features a backwards-sounding keyboard that attests to the band's ability to throw a curveball even on their most watered down numbers.

Ultimately Smith doesn't clear up any speculation regarding TPC's forthcoming LP (impressive recent single "Your English Is Good" might help there), especially since any fan champing at the bit has already heard this material. Closing the album on a somber note, Monks spills his guts a piano version of "A Lesson in Crime", and with no splashes of guitar or keyboards to obscure his voice, the results are mixed. Whether or not these guys decide to cash in on their potential MTV appeal or strive to refine these frenetic ditties into more nuanced compositions, Smith reveals additional depth in the band's songwriting, even if it is only eight minutes' worth.