Word: bassing
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...next stop was a cluster of waterfront fraternities located on Memorial Drive. Expecting music and sick bass beats, we were disappointed by the sound of silence. The only bass resonating from the row of houses came from one that was fully lit, a virtual beacon for those sailing the Charles at night...
...best features to be found on “Eyelid Movies” are the bass lines and Barthel’s vocals. Carter’s guitar playing also occasionally shines, particularly on the album’s quieter songs. The album’s lyrics, while only hooking the listener occasionally, certainly do not hurt any of the songs. This neutrality is as much as the record needs, as its other aspects provide plenty of highlights. Although not remaining stellar throughout, this album provides a great overview of what Phantogram are capable of accomplishing. Based on its singles...
...Love” hit the same low-tempo, somniferous groove that repeats until it stops, briefly, as if for convention’s sake, and then resumes in another key. The rhythm section, the core of any decent R&B group, sounds too often like the drum and bass GarageBand loops characterized by seamless, emotionally-bereft rhythmic accuracy and a robotic inability to feel—it’s hard to imagine human beings creating this record. This is particularly problematic seeing as “Soldier of Love” eschews pure electronica and trip-hop for more...
...reveals the album’s deepest flaw. Despite an improvement in dynamic songwriting, the overly processed instruments and production which, in context of the stronger songwriting, is overbearing, keep the song from reaching the emotional peaks for which it aspires. A smoky upright bass pattern lightly supports the Sunday-afternoon strumming of the laconic acoustic and the waves of organ that sweep through the wide-open spaces of the song like wind in fields of grain. Adu pulls off some memorable melodies, making use of her powerful and malleable voice, but the track somehow feels distant and merely pleasant...
...Falling Down A Mountain” opens with the title track, immediately introducing the multi-layered, complex arrangements which characterize the album’s best songs. Subversive bass lines, syncopated drum beats and a tambourine lay down a solid foundation upon which wild trumpet riffs and trippy synths soon take over, creating an alternately jazzy, new-age feel. Stuart Staples’ oft-commanding vocals seem to politely refrain from overpowering the melodies, neatly weaving themselves into intricate tapestry of disparate sounds. An engaging prelude to the rest of the album, the title track exemplifies what makes the best...