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...Ground” and the slick bass line of “Freedom Hangs Like Heaven” lend these songs a simply bad-ass vibe. Packing a punch and a twang, these songs may cause dancing, foot tapping and other reactions not normally associated with the band??s previous efforts...
Longwave’s two guitars charged, swirled, and dueled their way through the night, expertly navigating hairpin shifts in dynamic. The band??s opening salvo built jangling tension that broke out into simultaneous squalls over new-wave synths, ultimately evoking an up-tempo, slightly less morose Interpol...
...band??s enthusiastic energy saved the often-moody material from seeming pretentious. Schiltz and his bandmates joked with each other and audience members throughout the show, almost entirely without the bored irony of their fellow New York hipsters. Six years after forming, Longwave knows how to swagger without sneering...
Unlike with the recording of the band??s 2003 debut De-Loused in the Comatorium or any output from At The Drive-In (the El Paso afro-toting prog-punk powerhouse he and crooner Cedric Bixler, the other permanent ‘Marsvoltian’, led until 2001) the drug policy with this record was to wait until after the recording to start the debauchery. The good news, for those who have warmed to the histrionic, full-blown theatrics of the Mars Volta, is that the sober influence is not felt...
Some bands form a reputation, even in their youth, as a band that puts on a great live show. It’s a perfectly valid compliment––an album is only a single way to get at a band??s sound, and live performances are a completely different experience. This is why it may be worth it to cough up the dough to catch Interpol at the Orpheum next week, as they’re one of the few bands in the post-Strokes wave that have made a name for especially killer...