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[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!
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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
Noreaster Failed Industries

Rating: 6/10 ?

October 1, 2004
Without Trans Am, The Frequency doesn't make this album. Actually it is more appropriate to say that without the presence of Trans Am, Sebastian Thomson does not have the same musical authority to make this album and have it muster up any sort of notice.

Thomson, multi-instrumentalist and one-third of the Thrill Jockey electro post rock group Trans Am, seems to take influence from many sources. Just as his well-known trio melds together a number of styles to formulate their unique sound, alone Thomson seems to take cues from '80s synth pop acts such as Kraftwerk and Duran Duran just the same as he does from heavy rockers.

The Frequency is just that - an album teeming with influence - but most of the time the texture just makes it painfully obvious that Thomson has his hand in other works. Most of the tracks on this self-titled debut seem spent indecisively dancing back and forth within a duality of synth poppiness and dark, yet upbeat post rock. The presence of vocals, although fitting at times, throws in an inconsistent element that carries compositions at times while at others seems to drag them into the mud of repetitive drones.

The album has its moments though. "Erase Myself" and "One Chance" are definitive high points. The former is powered by heavy, punctuated drum beats and thumping bass lines, while a raunchy guitar riff soars over the top of both tracks and Thomson adds his nondescript vocals to pot. "One Chance" utilizes a paper-thin-snare/chest-caving-bass-drum electronic 808 beat and a spryly bouncing synth melody that suggests the repertoire of club DJs throughout the '90s.

Last night I tried to write and edit and rewrite the previous paragraph so many times that I just gave up. I figured it was a case of nighttime writer's block and that today would bring better ideas and more clarity for what to say about the specifics of the album. Well, today came and The Frequency stayed the same; a slightly above-average collection of recordings that I had heard the day before. So back to bed, I say.

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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