An excellent illustration of the distinction between "childish" and "childlike." What I'm saying is, Plone allow one to hear through the ears of a child again, corny as that sounds. Titles like "Marbles" and "Press a Key" drive the point home--these are the kind of tunes you'd find in a Kinder Surprise egg (actually, I'm gonna run with that, and toss out the term "kindertronica"). These three Birmingham boys stick strictly to warm, analog electronics, tinkering together an tickle trunk of tick-tock lullabyes, mysteriffic melodies and eerie flying saucer themes. Despite their complexity, they generate an achingly simple sense of wide-eyed wonder and giddy fun. Any resulting embarrassment is of the listener's own damn problem--grow up, already. 9/10 (Rupert Bottenberg)
Sloan Between the Bridges (Murder/Universal)
Free of the constricting release schedule of a major label, the country's best-loved band let loose their fifth studio album just 18 months after the last. Like Navy Blues, Between the Bridges spans softer '60s pop stylings and harder '70s rock, but there's less overt referencing and a greater continuity between the four writers' tunes--perhaps because it's a subtle concepty thing about being in a band, being in a band from Halifax, and now being the elder Sloans. There are more texture pieces and minor chordisms here than fodder for beer commercials or future concert faves. Still, a handful of killer Sloan songs every year-and-a-half is fine by me. 7.5/10 (Chris Yurkiw)
Chris Cornell Euphoria Morning (A&M/Universal)
After realizing that their last album sucked, Soundgarden broke up (well, that's what I'd like to think). Lead singer and writer Chris Cornell took a little time off to grow his hair back a bit and watch TV. When the looseness returned to his bones, he took his sweet time and put together an album that kept the Beatles and Zeppelin influences but locked the Sabbath in the cellar. Soungarden fans looking for "Holy Water" or "Spoon Man" won't find them; instead, Cornell is on some gentle shit, delving into more creative trips and returning to the soulful vocal techniques he used on the one-off side project Temple of the Dog. Nice one Chris, but for real, I like it more when you're pissed. 8/10 (Lateef Martin)
I Am Spoonbender Sender/Receiver (Mint/Outside)
Hard to figure how Cub's Robin Iwata, erstwhile cuddlecore princess, wound up in this wound-up outfit. The first few tracks are actively uncute, stainless steel lattices of angular data processor rock. A nervous calm sets in as matters progress, vintage synths and murky machine rhythms playing it cagey. That old "false sense of security" thing. Then the closer kicks in and knocks the listener around again--mathematically, of course. Mothers, hide your silverware now! 8/10 (Rupert Bottenberg)
An excellent illustration of the distinction between "childish" and "childlike." What I'm saying is, Plone allow one to hear through the ears of a child again, corny as that sounds. Titles like "Marbles" and "Press a Key" drive the point home--these are the kind of tunes you'd find in a Kinder Surprise egg (actually, I'm gonna run with that, and toss out the term "kindertronica"). These three Birmingham boys stick strictly to warm, analog electronics, tinkering together an tickle trunk of tick-tock lullabyes, mysteriffic melodies and eerie flying saucer themes. Despite their complexity, they generate an achingly simple sense of wide-eyed wonder and giddy fun. Any resulting embarrassment is of the listener's own damn problem--grow up, already. 9/10 (Rupert Bottenberg)
Free of the constricting release schedule of a major label, the country's best-loved band let loose their fifth studio album just 18 months after the last. Like Navy Blues, Between the Bridges spans softer '60s pop stylings and harder '70s rock, but there's less overt referencing and a greater continuity between the four writers' tunes--perhaps because it's a subtle concepty thing about being in a band, being in a band from Halifax, and now being the elder Sloans. There are more texture pieces and minor chordisms here than fodder for beer commercials or future concert faves. Still, a handful of killer Sloan songs every year-and-a-half is fine by me. 7.5/10 (Chris Yurkiw)
After realizing that their last album sucked, Soundgarden broke up (well, that's what I'd like to think). Lead singer and writer Chris Cornell took a little time off to grow his hair back a bit and watch TV. When the looseness returned to his bones, he took his sweet time and put together an album that kept the Beatles and Zeppelin influences but locked the Sabbath in the cellar. Soungarden fans looking for "Holy Water" or "Spoon Man" won't find them; instead, Cornell is on some gentle shit, delving into more creative trips and returning to the soulful vocal techniques he used on the one-off side project Temple of the Dog. Nice one Chris, but for real, I like it more when you're pissed. 8/10 (Lateef Martin)
Hard to figure how Cub's Robin Iwata, erstwhile cuddlecore princess, wound up in this wound-up outfit. The first few tracks are actively uncute, stainless steel lattices of angular data processor rock. A nervous calm sets in as matters progress, vintage synths and murky machine rhythms playing it cagey. That old "false sense of security" thing. Then the closer kicks in and knocks the listener around again--mathematically, of course. Mothers, hide your silverware now! 8/10 (Rupert Bottenberg)