Releases
Issue date: 2/27/08 Section: Noise
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DeVotchiKa
A Mad and Faithful Telling
Anti
A Mad and Faithful Telling, the latest release from local band Devotchka, has all the ingredients for another Denver success story. Sporting such unorthodox instruments as sousaphones, bouzouki, and mariachi horns, the ten-track album comes to life in a flurry of unexpected ways.
Nick Urata leads the pack with his signature tenor vocals on top of unclassifiable music, making the release more of an adventure than an album. “Blessing In Disguise” could have played at a ball for Marie Antoinette. The accordion intensive “Head Honcho” could have played on the streets of France in the early 1900s.
Devotchka is timeless. Each new song is a result of deep thought and orchestration that won them a Grammy nomination. A Mad and Faithful Telling, appropriately named, allows for time travel as well as an enlightening look into the future.
-Laura Webb
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The Swayback
Long Gone Lads
What Are
With their latest release, Long Gone Lads, local favorites The Swayback bring sonic commotion, complete with a cover of the Velvet Underground classic, “I’m Waiting for My Man,” recorded right here on campus.
While drummer Martjin Bolster keeps driven, impeccable time for the funk-heavy riffs of bassist/vocalist Eric Halborg, William Murphy’s percussive, layered guitarism provides the ambience. Vocally, Halborg favors a reverb-soaked, Morrissey-style croon. But he isn’t afraid to bust out a dry, Jack White sneer on “Forewarned,” the album’s standout track.
With its catchy hooks and strong production, Long Gone Lads will definitely make feet shuffle. But this isn’t just a record for the dance floor; its rapid-fire song structure and loud playfulness make it an intriguing listen again and again.
-Jeffrey Otte
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The Mountain Goats
Heretic Pride
4AD
The Mountain Goats’ new album, Heretic Pride, leaps from autobiographical songs about abusive stepfathers and failed relationships to bizarre stories of swamp creatures and reggae singers. Perhaps surprisingly, the emotional intensity stays the same.
Singer and songwriter John Darnielle’s vocals parallel those of The Weakerthans’ John K. Samson with the same nasal tonality and capability for heart-wrenching empathy.
"Autoclave," one of the most emotionally-riveting tracks, likens a mental image of an individual unwilling to love to the device surgeons use to heat their instruments to the point where nothing can survive. The strength here lies in the lyrics: “No emotion that’s worth having could call my heart its home.”
Though Heretic Pride at times feels obscure and just plain weird, it’s hard not to be moved by the expressive quality Darnielle brings to each oddball he describes.
-Robin Edwards
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