Bonus points for the Breaking Bad sampling intro, otherwise a great pulsing mass of Space Trap, featuring Flosstradamus, Rustie, TNGHT and a bunch of other folks I don’t know.
Been waiting a long time for this…never has over 2 years felt so long. The new track carries a heavy vibe of The National & Grizzly Bear, while still sounding like an organic Local Natives track. Their sophomore album Hummingbird out January 28th on Infectious and January 29th on Frenchkiss.
Currently in the running for album of the year.
Just to get this out of the way, I don’t think I have much kind to say about Lil B. My first exposure to him was through Clams Casino and when hearing the track he did for Lil B with and without vocals…I vastly preferred the version without his rapping. This song tumbles down the same route; the beat is amazing and while Stunnaman does a good job, the moment Lil B starts, the quality drops. While I didn’t intend for this to just be a slam on Lil B, I guess I’ve never really been called to voice my opinion on him. Instead, focus on the head nodding, glitchy clatter that Star Slinger brings to the table and enjoy.
My favorite album of last year didn’t end up on many, if any, best of lists. Múm’s return to the scene with Go Go Smear The Poison Ivy is a stylistic departure for the band. Gone is childish cooing of Kristin Valtysdottir and in her place are two new ear friendly female vocalists. The album leans away charmingly from a reliance on the core electronic elements that defined the Múm sound and integrates more live instrumentation. The resulting shift in the formula works and makes Múm a more successful band.
I bought tickets to the LA stop of their smallish U.S. tour based solely on a listen to their 2002 Peel Session: the 4 track EP, which later found a proper release in 2007, that left me absolutely confused. The live reproductions of their studio heavy glitch-pop were so crystal clear that they sounded nearly impossible. I wasn’t even aware of Valtysdottir’s departure, though the show I later saw far exceeded any of my expectations. Her childish coo was interesting, but slightly off putting. I loved the band despite her, but I think shifting the focus to something outwardly palatable will help the band in the long run.
In some way, I rate an album’s quality on the basis of how quickly I want to listen to it again. Many times I’d wander my way down the winding, curious road that is Go Go Smear The Poison Ivy and immediately be ready to listen again. Plucking songs at random didn’t cut it, as the full flow of the album from the bounce and skitter of “Blessed Brambles” to the crisp moonlight of the album closer “Winter (We Never Were After All)” was necessary to truly consume.
Now, I’d also bet that some people would argue that an excellent album should function both as single tracks and as a coherent whole, but I don’t totally agree. In an world that relies less and less on the concept of the ‘album’ as a fixed experience, the accomplishment in the cohesiveness of Go Go Smear The Poison Ivy should be noted.
I also know full well that the quirk this album embodies isn’t for everyone. The hallucinogenic haze that rests over every track might drive the uninitiated right up a wall and out the window. I find a frozen charm in the layered harmonies of the three singers, giving the music a completely unique identity. I imagine this album to be a good soundtrack to life in a snowglobe.
Múm’s quirky nature mixes with a kind of unbridled joy that many other albums hardly come close to. Backed with their nearly overwhelming live show, I give a lot of appreciation to a band that can emerge after 3 years with a whole new formula and create something that topped the previous heights of their back catalog.
|Purchase at Insound|
from 2007’s Go Go Smear The Poison Ivy
‘Scratched Bicycle/Smell Memory’
from 2002’s The Peel Session