» 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
Tripper + Springer EP
The Leaf Label

Rating: 6/10 ?

May 25, 2005
An elder fledgling, adorned with tremulous string sections a la Amina, programming all astutter and the rapturous ruminations of a choir, reaped this Danish ensemble much kudos. Little does it strike with surprise that the group's other toddler, an EP named Springer, is being cast many a glance.

Set back to back against his sibling, Tripper, Springer appears as a timorous, shorter and altogether frailer chap. While Springer lacks the mark of maturity, he nevertheless bears resemblance in bone structure to that of his brother and is distinguished by a furtive glare of spontaneity. His song structures are allowed to meander about, paying less heed to fluid progressions and chancing upon pastures more foreign and otherwise uncultivated by Tripper.

Noteworthy is the work that makes up the finale, "Filmosonic XL". What at onset seems a monolith of clanking tones and atonal bursts played alongside bombastic synth pulses, malleable electric squiggles and buzzing sine-wave tones, is swiftly disrupted by what sounds like an old film projector grinding to a halt. Thereafter, pristine sine waves bathe in elongated organ tones and iridescent textures, now and again ruptured by stabs of fizzling noise.

In these moments, as in the concise "Redrop", where infrequent chirps emanate from a coy computer and altered piano notes wink like stars soused in silver, a tension is maintained by way of a willingness to risk. And from such moments, Springer is able to find a distinctive disclosure rather than engulfing its presence in the economical, ready-made formulas crafted by those who came before (namely, Mum and the Morr music family tree).

By staying still and quiet, Springer seems a trifle more intimate than its occasionally grandiose older sibling. Although "Kloy Gyn" at one point dashes off through plains cascading with delirious drum programming, marching drums and cacophonous trickles of sound, it is willing to mull around at first. It does so by branching out in sections, enabling each member of Efterklang's ensemble to make his presence felt. One finds static tonal washes lap over the rhythmic nudges of a synthetic cord, low-end drones flooding across repetitious piano refrains and breathy trumpet blowing. The result is not a mere product of social configurations, but one which retains an original potential worth staying beside.

This being said, Tripper, the ensemble's first full-length endeavor, exhibits maturity in sound crafting. Tripper is a far more compact, measured affair. While it has a fainter dose of spontaneity than Springer, its mature way with sound-sculpture elicits concrete and particular emotions.

The presence of Amina is immediately apparent. Though Tripper remains a largely electronic work, its snake-charming percolations of simple electronic tones are now swaddled in aqueous hissing and Amina's lyrical way with strings. Most often, a loping beat is coated with faintly distorted chords and sparkly noise, then grafted to a low, aching vocal melody that recalls fellow ambient post-rockers Gregor Samsa. True, every now and again they pepper the ongoings with a moment of discordance, but by and large they rely upon the skipping CD effects employed by Oval and Mum. They would do well to revel in the exploratory energies of their debut EP, but with each effort Efterklang are fitfully engaging, becoming a group to keep scrawled inside one's head.

Reviewed by Max Schaefer
Nocturnal qualms and eyes that brim like lamps betoken slender sketches, poetry and short stories strewn alongside piano playing, a fiddling of knobs and murmured dialogue with a medley of electronic gizmo\'s. A twenty-one year old person lodged within the University of Victoria, Max harvests organic sounds on a sullen sampler, watching water unwind like two broad lengths of ribbon and nursing a book below the canopy of a cheery-tree. Max believes that the world is made present by people\'s presence in it and that art is one such way in which a distinctive disclosure might be crafted.

See other reviews by Max Schaefer



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