(sub)urban soundcheck.

The Mercury Program – A Data Learn the Language [2002 – Tiger Style]
June 28, 2009, 3:36 pm
Filed under: post-rock | Tags:


1. Tequesta – 7:38
2. Fragile or Possibly Extinct – 7:19
3. Slightly Drifting – 6:24
4. Egypt – 4:52
5. To/From Iceland – 5:41
6. You Yourself Are Too Serious – 5:23
7. Gently Turned on Your Head – 4:03
8. Sultans of el Sur – 5:46

“The third album by Florida-based quartet Mercury Program is a small departure, eliminating vocals entirely and adding electronics for the first time to what had previously been a richly acoustic, almost jazzy sound. The band is still centered around Whitney Travisano’s electric piano and vibraphone (guitarist Tom Reno and drummer Dave LeBleu also add vibes to several songs), which gives A Data Learn the Language a cool, mellow feel, like the Sea and Cake reinterpreting their favorite Modern Jazz Quartet sides. The electronics and loops are introduced sparingly, supporting the eight lengthy songs and adding new and interesting textures, but never becoming the center of musical attention…it’s consistently melodic, rhythmically varied, and unfailingly listenable.” – allmusic

Caspian – You Are the Conductor [2005 – Mylene Sheath)
June 27, 2009, 6:48 pm
Filed under: post-rock | Tags:


1. Quovis – 1:17
2. Further Up – 4:27
3. Further In – 2:50
4. Loft – 6:15
5. For Protection – 3:37
6. Last Rites – 9:27

“The melding of bombast and beauty, this is what Caspian does best. On their first release You are the Conductor, and perhaps the best instrumental EP of 2005, Caspian maintains a firm melodic foundation while not forgetting to bring the rock. In the first three songs; Quovis”, “Further Up” and “Further In”, Caspian establish their post-rock prowess by fusing layered overdriven guitars, an air tight rhythm section, and an almost innate ability to create gorgeous melodies.” – Delusions Of Adequacy

Caspian – The Four Trees [2007 – Dopamine]
June 27, 2009, 6:29 pm
Filed under: post-rock | Tags:

1. Moksha – 9:08
2. Some Are White Light – 5:26
3. Sea Lawn – 5:23
4. Crawlspace – 7:38
5. Book Nine – 5:54
6. The Dropsonde – 2:05
7. Brombie – 5:58
8. Our Breaths in Winter – 3:23
9. The Dove – 3:05
10. ASA – 7:17
11. Reprise – 5:14

“The Four Trees, the first full-length album from the Massachusetts-based group, combines nearly every sound from post-rock into one album that flows coherently and logically. From ambient, textural drones to hard hitting riffs a la Pelican, The Four Trees breezes from style to style effortlessly…they show a mastery of the sound their idols laid out before them, making a listenable, cohesive album in the midst of multiple epics. Unlike their contemporaries, Caspian’s music is not particularly moody. One can listen to it at almost any time.” – Tyler Fisher

Maudlin of the Well – Part the Second [2009 – Self-Released)
June 21, 2009, 9:49 pm
Filed under: experimental, post-rock | Tags:


1. An Excerpt From 6,000,000,000,000 Miles Before the First, or, The Revisitation of the Blue Ghost – 10:56
2. Another Excerpt: Keep Light Near You, Even When Dying – 5:59
3. Rose Quartz Turning to Glass – 7:30
4. Clover Garland Island – 8:18
5. Laboratories of the Invisible World (Rollerskating the Cosmic Palmistric Postborder) – 11:50

“Maybe the most exciting parts of Part the Second are the moments that can’t be traced to anything Driver has done before. The opening notes of the album conjure the legato tapping of Minus the Bear covering “Gleam in Ranks.” The smooth pentatonic piano and solo violin of “Rose Quartz Turning to Glass” sound like they belong to Lou Harrison’s Three Pieces, and manage to sweep me off of my feet every time. The synthesized vibes and bells against the violin of “Another Excerpt…” are from some kind of gorgeous, cinematic dream state previously hidden away in the less challenging back rooms of Driver’s music. These moments sound as if they’ve been gleaned from some other composer and woven in – rather beautifully – into Maudlin of the Well’s core sound . . . Part the Second is a truly great album, not for what it can evoke in a pining Maudlin of the Well fan or what it tells a Driver devotee about the composer’s personal progression, but for all it achieves on its own.” – Nick Greer

Odland – The Caterpillar [2009 – Aerotone]
June 21, 2009, 8:27 pm
Filed under: post-rock | Tags:


1. The Caterpillar – 4:45
2. Les yeux de l’oiseau – 4:35
3. La chanson du parasite – 4:22
4. Sur les murs de ma chambre – 5:16
5. Mathilde Rossignol – 5:57

“We called it The Caterpillar, wich is the first song title, because we find it is a proclamation of our thoughts, and of our style. There are discontinuities in it, and very different environments. This song, as other coming, is inspired by Alice in Wonderland, in the Lewis Caroll original work.
There is in these 5 tracks a lot a variations between romantism and ragtime, and we are charmed to propose this diversity for a first production” –

And So I Watch You From Afar – S/T [2009 – Small Town America]
June 19, 2009, 8:09 pm
Filed under: post-rock | Tags:


1. Set Guitars to Kill – 5:30
2. A Little Bit of Solidarity Goes A Long Way -3:26
3. Clench First, Grit Teeth…Go! – 6:20
4. I Capture Castles – 7:18
5. Start A Band – 4:54
6. Tip of the Hat, Punch in the Face – 4:22
7. If It Ain’t Broke…Break It – 6:22
8. These Riots are Just Beginning – 4:49
9. Don’t Waste Time Doing Things You Hate – 7:32
10. The Voiceless – 6:28
11) Eat the City, Eat it Whole – 7:46

“Ludicrous, perhaps, but brilliantly so; and low on let-up, fierily wilful in its methodology. That there would be asymmetric time signatures on show is almost a given, and indeed ‘Clench Fists…’ wastes little time before moving first into 13/8 and then something that sounds like it might involve decimal places. But there are African influences here too, although ‘A Little Bit Of Solidarity Goes A Long Way’ deftly avoids Vampire Weekend-style touristic condescension by incorporating its soca stylings seamlessly into some thunderous minor-chord menace. Moreover, there’s even a near-singalong moment on — oh, the irony — ‘The Voiceless’, which is about as stadium as they get and features some sublime guitar crochet over outrageously persuasive bass. As you might’ve gathered, for all the ambition and complexity displayed, they’re anything but afraid to rock, which leads inevitably to ‘Tip Of The Hat, Punch In The Face’ doing exactly what it says on the tin.” – Iain Moffat