» 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
Minotaur Shock
4AD/Beggars Group

Rating: 8/10 ?

August 25, 2005
So this is what it sounds like to be lost at sea. David Edwards, otherwise known as Minotaur Shock, makes songs about the sea, or so he says. On some tracks this theme is apparent, with Edwards' use of breezy electronic effects, old-time instrumentation and song titles like "Six Foolish Fisherman." However, his subject matter is not entirely noticeable; unlike other experimental, post-rock groups who are dead set on creating artificial but naturalistic, atmospherics, Edwards is more subtle, creating the mood of the sea rather than its actual sounds. What follows is an album, maybe unknowingly, inspired by the loneliness, romance and hopefulness of nature.

But what is more tangible than his feelings is the escape - like any good instrumental album, Maritime does its job in providing a getaway. Rather than warranting an aggressive lashing out, the album creates a trance at some points, while seeming perfectly content and happy at others.

Maritime memorably starts off with "Muesli," which in toe with the silliness of its name, is an enjoyable jingle free of standard rhythms, embracing horns, accordion, shakers and tambourines. It is very expressive, beginning the album on a high note. The songs that follow merge the above formula with a wide mix of electronic effects and drums, ranging from the orchestral to the poppy; each of these noises can comfortably be danced to without breaking a sweat, if you move with a nice hip-swinging groove. The first five tracks elicit this motion, combining unobtrusive rhythms, fuzzy starts and stops and both modern and nostalgic moods.

The mid-album "Twosley" is more somber than its predecessors, layering traditional strings with more agitated instrumentation and ending abruptly. The repetition here is less upbeat and less driving; it feels stuck somewhere, barely able to lift itself out of the loops it creates, though only momentarily.

Edwards is as well successful in making sole elements as lively as the combinations he puts together. His songs are on an even keel; they progress without becoming boring or redundant and are confidently arranged and easy to listen to. By Maritime's end, the whole set of ideas and notions surrounding the sea, which were set spiraling with the first song, dissipate. The moods running throughout the album aren't easy to pigeonhole to such a singular inspiration, which is very richly apparent in the music.

Reviewed by Abbie Amadio
The last we heard Abbie Amadio, a former contributor to LAS, was based in Milwaukee, Wisconsin.

See other reviews by Abbie Amadio



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