» 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
The First One Hundred Years

Rating: NR/10 ?

October 1, 2004
Ambience is a hard word to capture, musically. To me, it's a certain textured state that prides itself in echoes and hollow creeping. Textured and semi-hypnotic, it breaks in with electronic sounds and tends to repeat itself rather pleasantly. Mallory's sole mission seems to be in sharing a dark, ambient prism with you, with every shade of brown-to-black.

Beginning with "Kokomo Hum," they evict a scene of escape, where the woodland ghosts are stirred. Their sound, then, begins with that eerie umber of impending doom and rotting husks. Not exactly the most inviting place to be, but eminently believable as they dive into their next painted landscape.

Indeed, each track represents its own separate atmosphere. "Monte Carlo" plants heavy feet onto extraterrestrial paths, increasing guitar intensity and probing electronic alarms. "The Way After" is a happiness-by-proxy melodic tangent, set to the sweeping tones of a busy signal in winter. "Medicine Cup" swirls the anger and sadness of a housebound broken heart into sparse drumming and raw guitar squealing. "Bildungsroman" shows a car chase inspired by too many 70s cop sagas and Pixies-pinned surf rock. "F150" sounds like post-rock in a time machine destined for a 50s sock hop. Finally, "The Suicide Artist" clicks into lazy, sleepy noise, and fades away without a trace.

In all, they take understated bits of noise, distortion, and post-punk sensibilities and string them into their own ability to imprison a moment. Ultimately winning over impatient audiences as they opened for Interpol and Calla, they may not quite hit such a satisfying spot, though they are remarkably picturesque.

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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