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

MUSIC

 » 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]

MUSIC

 » 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
»Deerhunter
Halcyon Digest
4AD
No Age - Everything in Between
»No Age
Everything in Between
Sub Pop
Robyn - Body Talk Pt. 1/ Body Talk Pt. 2
»Robyn
Body Talk Pt. 1/ Body Talk Pt. 2
Konichiwa
The Walkmen - Lisbon
»The Walkmen
Lisbon
Fat Possum
The Microphones

K Records

Rating: NR/10 ?


October 1, 2004
There was a point in rock music in the late 1980's and early 1990's where the method of 4-track recording, otherwise known as lo-fi, got big in its own little way, which I think had a lot to do with Lou Barlow and his work outside of Sebadoh. Work which I recall as sounding very immediate and honest. There was a certain level of tape-hiss that made a lo-fi recording sound so unique and personal. Beyond the sound, there was an aesthetic that went along with it from the album artwork to the difficulty of finding the lo-fi works of that time. Things are obviously different today. You can find just about any album with minimal hassle and most of the home recordings you will hear are done on such popular new computer-recording programs as ProTools, leaving them with a less than lo-fi sound.

For the brief span of time I spent listening the new album by The Microphones, I was taken back to the golden age of lo-fi, and the great part was that this album was recorded in a studio. "The Glow" Pt.2 was recorded at the infamous Calvin Johnson's infamous Dub Narcotic studio. Instead of relying on the hiss of the 4-track to give that perfect amount of eerie drone, the Microphones create a tight-knit mesh of atmospheric noise to float over their sometimes rock, almost folk/pop music. What you will hear is not always clear. The primary instruments are acoustic guitar, bass, drums, and keyboards, but the occasional horn section sneaks in.

It's obvious that there is a theme behind this album from its title. The vocalist continually reverts back to images of nature, especially the change of seasons and all of it seems as if it were translated from a dream. He seems to be dwelling on the memories of each season in this dream and what he longed for and what was eventually bored of. This is a personal album and it is bursting at the seams with that lo-fi aesthetic that I had earlier mentioned. Clocking in at over 60 minutes, this album can sometimes lose your attention and it does get tedious in its repeated imagery and continual dreariness, but there are enough surprises to keep you interested. This is an album for staring out the window in the dead of winter and waiting for it to end. "The Glow" Pt. 2 keeps its beauty hidden underneath the drone, fuzz, and feedback, and once you are finished excavating for it you may find something that you never expected to see.

Reviewed by Gregg Evangelista
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See other reviews by Gregg Evangelista

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