Instead we get a series of very similar midtempo chuggers, songs leaking into each other and sounding like dim echoes of Interpol's past.
The father composes most of the material; pleasant, cool midtempo post bop that sound like it comes from the late fifties.
Around the Sun is no more rocking than the last two, and perhaps less, tending to midtempo ballads and anthems with a few laid-back grooves along the way.
The midtempo drum hits are ridged as drop forge steel, never deviating even slightly for the beat, never pausing for a fill, never laying out.
At its worst it lapses into bland mid tempo pop that a band as gifted as this really shouldn't be churning out.
The four songs here don't display a terrible amount of range, all falling squarely in the midtempo range and consisting of the same instrumentation.
Chocolate Girl's main mix will get you shaking and the mid tempo rhythm is quite enjoyable.
The album is stuffed with queasy midtempo tracks and bizarre orchestration, but it's by no means impenetrable.
"All That I've Got" is jangly, pounding midtempo rock number with a sweet string arrangement.
Praise must go to the four-man rhythm section who power the album's mostly mid tempo grooves.
This album dishes up a balanced diet of mid tempo cruising in-your-car joints, alongside those dangerously suave, seductive ballads.
But where that album moved with confidence and conviction of purpose, Control wallows in an amoral netherworld of overamped midtempo ballads and incomplete thoughts.
He has slowed it down a lot, but still moves at a good midtempo clip.
The pianist augments many of these mid tempo pieces with lilting harmonics, a deft right hand, and well-placed chord clusters.
While there are no real dead spots, a midtempo malaise falls over the otherwise strong batch of songs.
The Horrorist tag comes from his penchant for adding - get this - actual spoken storylines to his midtempo, post-hardcore electro creepers.
Low returns to the mid tempo rock of the title track and yet still manages to fit a percussion break into the most U2 sounding like track on the record.
All of these songs stay within the slow to mid tempo range; nothing ever really changing.
Emmylou Harris is the queen of the midtempo lament.
The pair recorded much of Back to Bedlam, a collection of wistful ballads and midtempo pop-rockers, at Perry's Los Angeles studio.