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[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]

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 » 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
Aloha
Here Comes Everyone
Polyvinyl Records

Rating: 7.5/10 ?


October 1, 2004
Like a chill November wind, Here Comes Everyone wastes no time in making itself felt through flesh and bone. Through the first track "All the Wars," Aloha sets the tone and blows through the ear canal with aggressive-yet-artistic musicianship, formed in a fervent drum solo. The group's first peek into the public in two years shows them altered, but altogether familiar to their previous form and style - a stalwart anchor to the Polyvinyl Records post-rock, quasi experimental sound.

Cale Parks's percussive intro sets the tone for Aloha's fourth full length release as that of a collective of skilled artisans, including new member, multi-instrumentalist T.J. Lipple. Lipple's effect is felt in more than just song stylings, but also in the atmosphere of his record engineering assistance (the band recorded at his workplace, the famous Inner Ear/Silver Sonya studios with Don Zientara and Chad Clark). While previous Aloha works had their own self-defining characteristics and themes, Here Comes Everyone dances in an elusiveness of detail, each song a fresh interpretation of what the band is currently all about.

For the most part, Aloha has begun to showcase all the accessories. The first showing of Tony Cavallario's guitar aptitude is featured in "Summer Away" and "Boys in the Bathtub" with all-out rock style solos. Cavallario also contributes his high-range, pensive and emotionally expansive vocals, similar in timbre and convention to that of Thom Yorke and Craig Wedren. The frontman is sided by a depth of produced rock sound. Lipple adds the most distinguishable facet in percussive, melodic detail - use of mellotron, marimba, vibes, shakers, organs and keyboards. The effect of adding one new musician is striking, and at times Aloha sounds like a second cousin to acts such as Stereolab (especially "I Don't Know What Else to Do") that are influenced highly by 1960s lounge jazz sound. Here Comes Everyone is also given life through the more poppy conventions of almost disco-esqe drumbeat rhythms and hearty, dancing bass lines.

The new album is a slow burner, one that will not necessarily become a fan favorite upon initial listen. Many of the tunes are tightly captured, and to have them unwind unto one's personal attachment will take intimate listens, perhaps even while wearing large studio headphones. The group has created an album that is subtle while somehow maintaining an expressive artfulness.

"Water Your Hands" shows many exemplary sides of the group's efforts with their new work. The song begins with the wide open sound of a cascading piano riff and slowly builds with the addition of instruments - first, marimba as struck with harder mallets, giving off a plastic/hard wooden shell sound; next the oscillating texture of mellotron, alongside stern garnishings of electric bass; then various organ, vibraphone, and ambient keyboard sounds - for a solid two minutes. Cavallario begins to sing as the sounds taper off, his voice slowly teasing and calling out the choir of instruments again, this time in a developing crescendo. The scene is captured as a serenade of instrumentation, even without the presence of Aloha's defining conventional rock components (guitar and drum kit).

Aloha finds a way to keep their ideas engaging throughout 12 songs and 45 minutes of up-and-down dynamics. Here Comes Everyone is another nook in the band's career and another gust of cool, fresh air; this time one that is entirely refreshing and long-awaited.

Reviewed by Josh Zanger
Joshua Ian Zanger, a native of rural Chicago, rocks many a world with his writing, style, and generally sweet aroma.

See other reviews by Josh Zanger

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