After few spins later, you’re enmeshed in their brilliance, these sumptuous melodies and smart, forlornly romantic trills permanently imprinted on your soul.
An unfettered delight, as warm and comforting as the sweater from whence they got their name, and as sweet as Nina Persson’s snow-bunny smile on the cover.
Jeff Till conceived Thing and Nothing “An Insanity Play in Four Parts and A Prologue” in the traditions of Zappa (musically) and William Gibson (conceptually).
Japanese pop it ain’t. Even if Super Junky Monkey is made up of four (very cute) Japanese girls, they rock harder than anything on our side of the puddle.
More complex than your average RG band. Most of the songs have a call-and-response between the two guitars and drumming that includes a cowbell or something.
The interplay of three cellos on Thanks For The Ether is one of weaving, hypnotic voices, made all the more complex by the sweet voice floating over the top.
When the Day Has Broken is packed with bitterness, loathing, and an oddly hook-laden anthemic quality that can’t help but appeal to the Pearl Jam generation.
In a completely nonchalant and morose way, Palace Music (pretty much completely Will Oldham) is a Neil Young Hawks and Doves-era meandering river of quietude.