#Electrelane no shouts no calls mod

It's got a bit of the pursed-lip sixties chic, but with so much less kitsch-appeal this album is nothing if not sincere.

#Electrelane no shouts no calls mod

With the notable exception of the guitar riffs and solos (which sound uncannily like those from earlier Sleater-Kinney recordings, particularly on After the Call) the record is terrifically ethereal, with breathy, Nico-esque vocals blending into the instrumentation and loungy beats (think of a mixture between Saturday Looks Good to Me's underwater-pop and Stereolab or Belle and Sebastian's mod crooning). This simplicity, oddly, gives the music a pleasing multi-dimensionality. It's easy to close in and concentrate on any individual line. We hear a wide range of instruments on this record - violins, organ, banjo - but the melodies are simple: Electrelane isn't showing off. Electrelane has never boasted particularly polished production, but No Shouts has a certain dreamy graininess that, to my mind, brings the listener closer in. You can picture the band in the same room, in your basement, on your level, unpretentious. There is something about lo-fi music that makes it so much more personal than its highly-refined rivals. As a subtle, quiet culmination of its forebears, it completely extricates itself from all of the labelling Electrelane has garnered in the past. But even to the casual listener, No Shouts, No Calls stands alone from the others, despite all the similarities from one album to the next. There is nothing new or noteworthy about the instrumentation or vocals - in fact, one could argue that the whole album is entirely predictable. In a way, Electrelane's latest album is no flagrant departure from their previous releases. Whether you liked them or not, Electrelane never quite stuck to your ribs.

If you've listened to Electrelane before, you know that they sound a whole lot more like Stereolab, that their music doesn't seem to be at all entwined with their politics, and that, if anything, they are just a watered-down version of the aforementioned riot rock royalty, jumping frenetically from style to style without anything solid to grasp. If you've heard of Electrelane before, you know that they've been lumped in with a lot of other girl groups - Sleater-Kinney, The Gossip, Le Tigre - and may have written them off for that very reason. But it annoys me, because conceptually, I should love this record, but I don't.Electrelane No Shouts, No Calls (Too Pure) The second half of the album is better than the first. This improves on the second half of the album, where there is more textural variation. Much of the texture is all very much the same. That's what I love about dronerock, the spinning out of controlness when a band cuts loose. 2) This is more subjective, but perhaps it is so well crafted and so precise that I get no sense of abandon from it. The snare is particularly problematic, and interferes with my listening enjoyment. They have a good drummer, but the production makes her sound like she's hitting a sack of wheat. It's a nice album, it's well made and well crafted, but it leaves me cold. Big droney organs, girly harmonies, motorik beats.

Why? It makes no sense, it's got lots of elements that should be perfect Kate Bait. I keep trying to like it, but it does not capture me. This is one of the great mysteries of the universe for me.