It was under the crush of applause, cheers and “oh, I like this song” whispers that I happened upon Copeland for the first time. Upbeat and charming in their newfound success, the Atlanta foursome churned out a set of sunny day pop tunes the even the most jaded indie kids could proudly bop their heads to. The band’s then-release, “In Motion” charted songs about youthful exploration and the anthemic themes of love and loss, each track chalked full of glossy-eyed lyrical poetry and fantastical instrumental experimentation.
The band sold more than 100,000 copies.
Now, a year later, the pressure is on to unhinge the restraints of the indie genre and — commercially explode.
Dubbed its accomplissement couronnant, Copeland returns with “Eat, Sleep, Repeat,” the fervently anticipated third addition to the band’s full-length catalog with SoCal indie outfit, The Militia Group. Slitheringly cool, on “Eat, Sleep, Repeat,” Copeland struts confidently, building complicated pop riffs that ooze delightfully from verse to verse, chorus to chorus and track to track. One minute floating lightly, the next crashing in a cacophonous bluster, the band constructs lush arrangements that fall and rise like a savage, twirling tide.
A poignant introduction, on “Where’s My Head” Copeland mashes airy chimes and the tonal ring of the xylophone in perfect harmony. Largely instrumental, the soft and simple flow offers a deliberate contrast to earlier works. Utilizing Aaron Marsh’s vocal swoon, Copeland glides comfortably along, throwing down rhythms and rhymes to create a pitch-perfect audible swell.
Like Copeland’s previous compositions, Marsh’s warm yet versatile croon is the group’s most distinctive asset. Dropping in and out, his shimmering, soothing whine is as striking on cellophane as it is on stage; whether backed by a band (beat-master Jon Bucklew, guitarist Bryan Laurenson and bassist James Likeness) or the gentle strums of a single guitar, Marsh captivates.
On the disc’s second (and title) track, Marsh raps casually, detailing the tragic outcome of young romance: “Is it any surprise that you feel so overrun / All this time you had no one to tell you how to love / Do you think it’s unwise to go and break yourself on this one / All this time you didn’t know love.”
Copeland shows there’s no need to rush, cultivating its unquenchable thirst for producing slick pop licks, and offering plenty of hum-worthy tracks. Enter “Careful Now,” the band’s sleekest, commercial-ready track. Driven by a pair of dueling guitars and Marsh’s pitch-shifting croon, the song immediately ignites: “I threw everything out that doesn’t make sense / To find a thousand more things that don’t make sense / And I can’t help but get lost in a fault like this / When I don’t know how to hide myself in open air / Where I’m all alone.”
“Love Affair” and “Cover What You Can” foreshadow the disc’s slower second half, employing the use of sugary synth samples, violins and a few brassy horns. It’s here, on the sluggish, carefully crafted slow jams that Copeland is best, dropping each note perfectly in line to create the band’s most admirable and memorable work.
On “Safer on An Airplane” the band opens up, trading in its boyish ponderings about lost love, new relationships and angst-filled adolescence, for thematically darker material: “The day came in, the day went out / And not a bit of peace was spoken about / And it feels like a suicidal world / And it feels like hell.”
Such is the case on “The Last Time He Saw Dorie,” an instrumentally-lavish duet with singer-songwriter Anna Becker. Marsh pines: “He’s in love with tragedy / In love with tragedy / She was a wreck, but he loved her / She was a wreck, but so was he.”
Slowly slinking forward into the CD’s final tracks, “Eat, Sleep, Repeat” ends with “When You Thought You’d Never Stand Out,” the hauntingly beautiful closer: “Didn’t I see you when you thought you’d never stand out? / Didn’t I find you? / I think, I think that it’s me.”
It’s a detectable transition from earlier material — more musical inquiry, less bulls--t, Copeland brandishes a tangible musical maturity that offers a successful launching point for a band teetering on middle age (the group turns seven next year). But with age comes responsibility, and with the new disc set to hit store shelves Oct. 31, Copeland and its longtime label are poised to meet middle age head on.
“For quite some time, Copeland has been a flagship artist for The Militia Group, and we’re dedicated to do all that it takes to take them to high levels of exposure,” said The Militia Group’s Paul Maziar. “The band far surpasses their potential and even our expectations each time we hear anything new from them. They continue to push themselves and the parameters of genre with a steady, ceaseless progression.”
Powerful words from a record label born in 2001 by a USC dropout and the owner of a booking agency.
And with 100,000 units of “Eat, Sleep, Repeat” set to roll out — the label’s biggest release ever — The Militia Group is putting its money where its mouth is.
But with a high-profile headlining tour (Owen and the Appleseed Cast), generous media play and the staunch support of its label, Copeland seems to be up for the challenge, demonstrating that getting older isn’t all bad.
For more information on Copeland, visit: http://www.thecopelandsite.com/.