Monday, October 23, 2017

Littlefoot – Honeymoon/Feel Better



Littlefoot – Honeymoon/Feel Better
By
Jesse E. Mullen


In anticipation of their second record entitled Lavender, Somerville’s Littlefoot have released two lush pieces of dreampop that show off the collective strengths of their new lineup. “Honeymoon” begins with a heavily delayed guitar lead, which transitions into Erica Sutherland’s hopeful tale of romantic companionship. Always a gifted singer, Sutherland’s vocals are simply breathtaking here. Rhythm section Matt Liset (Drums) and Zy Baer (Bass) also lock into a solid groove on the track, with Baer’s style emphasizing a greater dub influence than past Littlefoot bassists.
Feel Better” is a different style of song entirely. Beginning with dueling leads (or “guitarmonies”) by Sutherland and new guitarist Dash Lunde, the song establishes itself as a much darker piece. The verses recall the early ‘60s/dreampop combination that Sutherland is known for. However, the choruses are punctuated by an icy synth line, and Lunde’s dark leads. The chemistry in the group that these two singles reveal is simply stunning. Judging by recent performances of the rest of the tracks, Lavender very well could be one of the strongest EPs of the year. Pick it up on 11/17 or pre-order on Bandcamp here:



Self-released/2017

Wednesday, May 24, 2017

The Fall – Sub-Lingual Tablet



The Fall – Sub-Lingual Tablet
By
Jesse E. Mullen



This album definitely resembles the Beggar's era of the group (1984-1988), but also brings The Fall in an exciting, and tightly refined new direction. Whether it's looking back via "Snazzy" (a funky distant cousin to "Slang King,") and the Brix-ish "First One Today," or to the future via the churning post-punk of "Dedication," and the extended jam "Auto Chip 2014-2016," it is an unqualified success. Mark E. Smith and company have brought out one of the best albums from any era of the group.
Cherry Red/2015

Saturday, April 15, 2017

Hop Along Make Triumphant Return to the Stage At Toad’s Place




Hop Along Make Triumphant Return to the Stage

At Toad’s Place

By

Jesse E. Mullen

Singer/Rhythm Guitarist Frances Quinlan during her solo electric portion of Friday night's set. 
(c) Jesse E. Mullen.
  
After a five month hiatus from playing out, Philadelphia’s beloved quartet Hop Along returned to the stage Friday night (April 14th) at Toad’s Place in New Haven, CT, in an event curated by Yale University. They played for roughly an hour, and proved that they still have surprises up their sleeves.

At the shows start, frontwoman and sole songwriter Frances Quinlan took to the stage solo with an ice breaking joke; “Good evening. I’m the merch person for Hop Along.” And with that, she launched into “Happy To See Me,” a rarely played highlight from 2015’s masterwork Painted Shut. To hear the song live was a real treat, as Quinlan’s vocal and lyrical performance was hauntingly beautiful. She also did “Some Grace” from 2012’s Get Disowned solo, which had a somewhat different (but equally effective) sound to the album version in the live setting. During this portion of the set, it became clear that there was a group of students loudly talking and watching the hockey game in the back of the club. Quinlan noticed, and joked “I hope they’re winning,” before being joined by the rest of the group. Opening with “The Knock,” the group unleashed a combination of melody and fury that only certain bands can in the live setting. The beautiful noise was more than enough to drown out the loud talkers in the back, who thankfully focused their energies on dancing. The crowd’s energy only increased once “Waitress” began, with its universal tale of guilt resonating deeply with the audience. 

One of the more poignant non-musical moments came before “Powerful Man,” a song which deals with abuse of power by an intimidating figure. “You’re powerful. Use it for good,” Quinlan said to the student body. Later on came the song that is possibly Hop Alongs biggest “hit,” the majestic “Tibetan Pop Stars.” Quite possibly one of the saddest, yet most hopeful songs of the last five years, it had several audience members (including yours truly) tearfully singing along. Built around Mark Quinlan’s skull crushing drums, the two guitarists’ dreamy soundscapes, and Tyler Long’s thundering bass, Frances Quinlan’s always stunning voice clear-cuts through the din to tell the story of one of the most devastating assessments of a human relationship ever written.

Finally, the show came to a close with “Sister Cities,” the ending track on Painted Shut. It is always a compelling listen, with its lyrics describing four independent characters who become interwoven at the end of the song. But last night, it was especially invigorating and cathartic, with Quinlan’s delivery of the lyrics, and for the second time of the night, I had tears in my eyes.