» Full Dark, No Stars - Stephen King's new novella questions mankind's ability to trust others.
[02.21.2011 by Bridget Doyle]


 » The Top 30 Albums of 2010 - Fashionably, fabulously late, our favorite music (and believe me, there was a LOT) of 2010, the year that some have called the best year for music ever. And only some of those fools work here. Plenty of usual suspects, lots of ties and a few surprises that I won't spoil, including our unexpected #1.
[12.24.2010 by The LAS Staff]


 » Live: Surfer Blood/The Drums at Lincoln Hall, Chicago, IL - Remember when Weezer used to put together records that you could sing along to and rock out to? That's what Surfer Blood's show was like!
[11.04.2010 by Cory Tendering]

Music Reviews

Screaming Females - Castle Talk
»Screaming Females
Castle Talk
Don Giovanni
Trent Reznor & Atticus Ross - The Social Network [Original Soundtrack]
»Trent Reznor & Atticus Ross
The Social Network [Original Soundtrack]
The Null Corporation
Deerhunter - Halcyon Digest
Halcyon Digest
No Age - Everything in Between
»No Age
Everything in Between
Sub Pop
Robyn - Body Talk Pt. 1/ Body Talk Pt. 2
Body Talk Pt. 1/ Body Talk Pt. 2
The Walkmen - Lisbon
»The Walkmen
Fat Possum
Lovitt Records

Rating: NR/10 ?

October 1, 2004
Rarely is post-punk called "beautiful", but Decahedron truly is. Formerly named The Black Sea, this rechristened trio has created a debut worth an immense amount of praise, but that is to be expected, of course - any band featuring members of Frodus and Fugazi should be as good as hype and imagination combined.

Yes, the rock's still hard. Shelby Cinca's laserlike guitars meet the involved drumming of Jason Hamacher and the earned perfection of Joe Lally's bass lines time and again, in seemingly endless combinations. While their tracks share the same dark, aggressive style, there are an incredible amount of facets to explore.

By my ear, you can break them down into three prominent and well-played influences: Fugazi, Jawbox, and Pixies. While this is admittedly oversimplification, the aspects Decahedron selectively lifts make their additions and idiosyncrasies even more enjoyable.

Fugazi is, not surprisingly, the band's biggest drawing point, with a stable impact throughout the album. The opening "Delete False Culture" exhibits this most strongly, with sharp, scale-climbing guitar work and authentic 80s punk flair. "Burning Lights" is also a call to Mackaye's outfit, thought not as successful: it is first marked with a chilled danceable sound but is later hampered by a labored, overstated drum.

The rash-voiced melody of Jawbox is present in several tracks, all of which are exhilarating and filled to the brim with burning, razor-split guitar work. The wonderfully angular "No Carrier" is a high point of this faction, heightened with proficiency and excess adrenaline. "Endings" is another indication, decomposing the entire disc into echoes of pallid guitar.

The most impressive of these influences lies in favor of Black Francis, where modern interpretations of Pixies tracks sound as fresh as their hopeful reunion. Without a doubt, the inclusion of these tracks inspires a double take. Decahedron does the dark, moody whispers and alien, threatening wails so well, it's nearly breathtaking. Rarely have their moods been captured so ably, or in such close accord.

"Pay No Mind" has an elastic, broken feel akin to Doolittle, "Every City is a Prison" is a howling abduction theory worthy of Bossanova, and "At the Corner of Schuykill and Wyaconda" replicates the dropped, dangling guitars of "Blown Away" and "Is She White", complete with thin and dreamy, throaty vocals.

Decahedron's Disconnection_Imminent sounds like the past and future of post-punk all at once. It is dark, eerie, and gruffly melodic, but above all it is inspired. It is a disc you can be proud to own, and one the band can take rightful pride in making.

Reviewed by Sarah Peters
A former music editor and staff writer for LAS, Sarah Peters recently disappeared. Perhaps one day she will surface again, who knows.

See other reviews by Sarah Peters



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