Pitchfork

That the Apes could switch out their frontman and still sound like the same band speaks to how their greatest strength is also their greatest limitation: the band's aesthetic is so rock solid and well-honed that their songs sometimes seem like simple reworkings of the same familiar elements. From its opening bass and distorted organ licks, there's no question that Ghost Games is an Apes record. But the band's substantial personnel shift (former singer Paul Weil being replaced by new guy Breck Brunson) has not only changed their voice, it's changed their entire vibe as well.

Technically speaking, the difference between Weil's rhythmic bark and Brunson's high-pitched wail is fairly obvious. But there's a more ineffable difference between the two: Weil always seemed to relish in the goofiness of his lyrics, while Brunson seems to be more into keeping the fourth wall intact. Brunson's vocals are at once more earnest and more arrogant; it's the difference between flashing a grin at the audience and closing your eyes to say "check this shit out." Which isn't necessarily a good thing or a bad thing.

The band hasn't quite adjusted its approach to its new singer. While Weil's unhinged persona added adrenaline to the steady and regular riffing of his bandmates, Brunson's melodic wailing leaves the band sounding less propulsive and intense. Indeed, while short melodic figures (I believe the kids are calling them "riffs" these days) are at the core of their music, Apes have always seemed like a band that is fundamentally driven by rhythm and energy. Sometimes Brunson's more broadly melodic approach doesn't interact all that well with the music underneath it; in "Walk Thru Walls", Brunson dutifully follows the band, but his vocals seem detached and disconnected.

Still, Apes have more than their fair share of great songs under their belt with Weil fronting them, and Brunson's presence does seems to have reinvigorated them in places. In "Info Ghost", Brunson's croony swagger actually works well against the band's insistent bashing, creating a kind of rhythmic tension that has never really graced an Apes record. At times, Brunson's vocals bring to mind Jeff Buckley's more rockin' moments, but the songs themselves rarely serve to highlight his performances.

There's no shortage of bands throwing around ghostly thematic material and dabbling in heavy riffs. But Apes are no dabblers, and Ghost shows a band moving even further away from stylistic equivocation. Apes are going to be a vaguely horror-themed riff-rock band whether you like it or not, and more power to 'em. It's hard to begrudge a band a transitional record when its in the midst of a substantial transition, and Apes wear it better than most. The second full-length from the Apes Mk I was far and away their best; here's hoping the band's new incarnation follows suit.