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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]

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 » 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
Arco Flute Foundation
Everything After the Bomb Is Sci Fi
Cenotaph Audio

Rating: 8.1/10 ?


October 1, 2004
This is an excellent album to listen to on the headphones, a fact that I was unfortunately not made aware of until recently. Without an intimate knowledge of Everything After the Bomb Is Sci Fi it didn't really seem like much more than reverberating noise rattling out of my wagon's stock speakers. After that initial rebuffing, I gave Arco Flute Foundation another shot on the home stereo in much higher fidelity, but again there were no dice. Everything After the Bomb Is Sci Fi was passed off to another writer who pretty much panned it, and I'd elected to forgo any coverage at all.

Then a strange thing happened - I was suddenly struck by a thought from out of nowhere. The thought was of three words: Arco Flute Foundation. As if on rails, I suddenly made a dash for the shelves where I had stashed Everything After the Bomb Is Sci Fi, for some reason holding on to it rather than tossing it out. Returning to my desk, I put on the headphones and set my mind to RELAX, letting Arco Flute Foundation take my mind off the world. This is a completely true story.

With my ears' undivided attention, Everything After the Bomb Is Sci Fi opens with the sprawling "The Myth That Became Jimmy Palm". Heavenly sounds flitter in from the periphery, melodic overtones shimmer and hum like a well-oiled machine from the future. The slowcore waltzing quickly condenses into a nimble instrumental romp that modulates tempo and lead enough to have the listener tripping up over comparisons to Mogwai, Dianogah and Roots of Orchis all in the same breath. Just as the angular momentum of the instrumental interplay reaches peak velocity, the walls come tumbling down and the track slowly disintegrates into a jumbled stew of post-rock art-expressionism.

After the meaty center of "The Myth That Became Jimmy Palm" I was primed for the dramatic follower, "The Mean Egyptian". The pace is brisk as the Foundation plows ahead like a troupe of French circus acrobats, cloaked in black, marching toward Moscow. Nimble bass lines crash like towering waves over the foundation of drums as thoughts of Maserati's The Language of Cities pop in and out of focus.

Everything After the Bomb Is Sci Fi then crumbles into the experimental clattering of "Captain World's Apprentice", a track that isn't completely intolerable considering it's basically a noise collage drenched in feedback and distortion. Later on the Foundation treat us to some splendid Joan of Arc-isms in the track "The Bastard Son of The Earth Quake Choir" but they redeem themselves quick enough to turn around and unspool "The Lizard Christ".

By the end of the third track Arco Flute Foundation have pretty much shown their hand but they have far from played all their cards. For the most part they pull off a post-rock variety show with stunning ease, blanketing antagonizing experimental sections with lush beds of melodic instrumental sequences. Often airy percussion arrives on the vibratory cymbals only to find itself quickly falling back into a jazzy little beat or being overtaken by rich, melodic bass lines. Some parts are flat out breath taking, but there are plenty of moments when Everything After the Bomb Is Sci Fi fucks with you just because it can. The album has proven to be a bit too extravagant for some, but for me the orchestrated moments are poignant enough to overshadow the brief annoyances that the experimental sections of Everything After the Bomb Is Sci Fi can prove to be.

Reviewed by Eric J Herboth
Eric J. Herboth is the founder, publisher and Managing Editor of LAS magazine. He is a magazine editor, freelance writer, bike mechanic, commercial pilot, graphic designer, International Scout enthusiast and giver of the benefit of the doubt. He currently lives in rural central Germany with his two best friends, dog Awahni and cat Scout.

See other reviews by Eric J Herboth

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