General Ratings:
Music: 7
Lyrics: 4
Scope: 4
Consistency: 7
RIYL: Galaxie 500, Yo La Tengo, My Morning Jacket
Further Listening: The Low Lows, Valentine 6, Beach House
Place of Origin: New York City, NY
Instrument/Sounds List: Electric Guitar, Keyboard/Organ, Drums, Drum Machine, Bass, Reverb, Vibraphone, Acoustic Guitar, Lap Steel, Moog, Glockenspiel, Background Horns & Strings, Ambient Sounds
Mood Tones:
Season: Winter
Weather: Clear
Time of Day: Evening
Song Highlights: June Gloom, Suit of Fire, The Low Lows
Favorite Lyrics:
"Candy's Kiss is a red weal/
Slow slip & sweet spill." (from Candy's Last Day)
"Bar light, bar bright,/
First bar I see tonight,/
Wish I might sleep tight." (from June Gloom)
"This suit of fire/
Is cut entirely/
From my desire." (from Suit of Fire)
Other Thoughts:
First, some background information: Parker Noon and Lily Wolfe met each other playing in the band Valentine 6, recorded one album, got married, moved to New York, cut three albums under the name Parker & Lily (the last of which being The Low Lows) and got divorced. Parker has continued to record with the rest of the backing band from their last sessions as The Low Lows, and has released two albums to date (the better of the 2, Shining Violence, should be the next stopping point for anyone who enjoys this record). By most accounts, it was the recording of this album that was the straw that broke the marriage's back.
For being a break-up record, excepting the occasional dig, there isn't as much anger here as one would expect. Instead, most of the album feels meticulously balanced; the guitars clang and distort but the organs smooth over the rough edges and with run-times mostly between 4 and 5 minutes, the songs never seem hurried or agitated. While I wouldn't call this a concept record, it regularly evokes a singular mood, namely cool resignation, and it would fit nicely in the CD changer between Yo La Tengo's And Then Nothing Turned Itself Inside-Out and Beach House's Devotion.
The Downside:
The lyrics, while nothing special, look a lot worse in print than they sound when sung, and I was surprised when going over them for this review how unimpressive they read vs. the vague but more favorable impression I had from passive listening. Mr. Noon's voice has a nasal quality, which has never bothered me, but I could see being a bigger deal to people more accustomed to traditionally pretty vocals. Also, especially when played at low volumes, the record has a somnolescence that to a less energetic listener may prove contagious. That's not necessarily a bad thing though, is it?
Music: 7
Lyrics: 4
Scope: 4
Consistency: 7
RIYL: Galaxie 500, Yo La Tengo, My Morning Jacket
Further Listening: The Low Lows, Valentine 6, Beach House
Place of Origin: New York City, NY
Instrument/Sounds List: Electric Guitar, Keyboard/Organ, Drums, Drum Machine, Bass, Reverb, Vibraphone, Acoustic Guitar, Lap Steel, Moog, Glockenspiel, Background Horns & Strings, Ambient Sounds
Mood Tones:
Season: Winter
Weather: Clear
Time of Day: Evening
Song Highlights: June Gloom, Suit of Fire, The Low Lows
Favorite Lyrics:
"Candy's Kiss is a red weal/
Slow slip & sweet spill." (from Candy's Last Day)
"Bar light, bar bright,/
First bar I see tonight,/
Wish I might sleep tight." (from June Gloom)
"This suit of fire/
Is cut entirely/
From my desire." (from Suit of Fire)
Other Thoughts:
First, some background information: Parker Noon and Lily Wolfe met each other playing in the band Valentine 6, recorded one album, got married, moved to New York, cut three albums under the name Parker & Lily (the last of which being The Low Lows) and got divorced. Parker has continued to record with the rest of the backing band from their last sessions as The Low Lows, and has released two albums to date (the better of the 2, Shining Violence, should be the next stopping point for anyone who enjoys this record). By most accounts, it was the recording of this album that was the straw that broke the marriage's back.
For being a break-up record, excepting the occasional dig, there isn't as much anger here as one would expect. Instead, most of the album feels meticulously balanced; the guitars clang and distort but the organs smooth over the rough edges and with run-times mostly between 4 and 5 minutes, the songs never seem hurried or agitated. While I wouldn't call this a concept record, it regularly evokes a singular mood, namely cool resignation, and it would fit nicely in the CD changer between Yo La Tengo's And Then Nothing Turned Itself Inside-Out and Beach House's Devotion.
The Downside:
The lyrics, while nothing special, look a lot worse in print than they sound when sung, and I was surprised when going over them for this review how unimpressive they read vs. the vague but more favorable impression I had from passive listening. Mr. Noon's voice has a nasal quality, which has never bothered me, but I could see being a bigger deal to people more accustomed to traditionally pretty vocals. Also, especially when played at low volumes, the record has a somnolescence that to a less energetic listener may prove contagious. That's not necessarily a bad thing though, is it?
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