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...music bloggerati instantly elevated the group to the indie pantheon. They did so because of the music, and when “Miroir Noir” sticks to tunes, it shines. Morisset captures some barn-burning performances; the selections from “Funeral” prove the album??s destined to last, and even the “Neon Bible” tracks tempt audiences into forgiving the album??s thematic and lyrical heavy-handedness. But their stage personae are similarly overwrought, and songs such as “Surf City Eastern Block?...
...blissful state of sensory overload. This bundle of noise is, surprisingly, the Baltimore-based musician’s most accessible album to date. After six years and numerous independently-released records, Deacon appears to have realized that a few tracks with vocals and clear pop melodies can increase an album??s popularity—even hipsters enjoy the occasional sing-along session. Like Deacon’s previous work, “Bromst” is still primarily instrumentally driven, but his sound has evolved into something catchier, lighter, and ultimately more inviting. “Build Voice...
...Wanting Comes in Waves/Repaid,” as William is confronted by the evil queen. Using the leitmotifs from the previous songs, the later half of the album describes the rake character and the abduction of Margaret until she and her lover find peace in death at the album??s conclusion.Full of recurring motif variations and the numerous interludes, “The Hazards of Love” is best enjoyed as the sum of its parts, but its individual peaks are manifold. With its creative mix of styles, “Annan Water” is multifaceted...
...beast that I lie beneath is coming in” in “Dull Life.” That track—one of the few songs that prominently features the otherwise downplayed guitar—comes at the midpoint of the album and is one of the album??s most immediately exciting songs. But despite the enthusiasm, the track feels slightly disappointing given its failure to advance on the work the band has done previously.In its second half, “It’s Blitz!” experiments with various sounds that, although...
...version with Oldham on backup) toward more polished studio trimmings. But in pulling in all the extra instruments (marimba, flute, tenor saxophone, and accordian, to name a few) it loses something of the stark devastation that gave voice to America’s stranger corners of existence. The album??s title should in the end serve as a warning to Oldham himself—amidst all the banjos and choirs, the warm shadowy spaces between the words may be lost...