This was the album that caused all the fun and games — its blend of homemade electronics, meticulously scored elastic bands and heartfelt pop struck a chord with all who heard it because it was life changing in the most marvellous and thrilling way. But when your musical dreams are being fulfilled, when you tour the world, when you can give up your job and hear your music trickling out of cinemas or the telly it can be pretty strange.
This all happened to Psapp. Tiny Mix Tapes. As it stands, whatever magic the album might have mustered has been smothered in the womb. All this publication's reviews. Under The Radar. It's nice to hear fresh songs that won't automatically connect an ad-addled brain with Disaronna yet.
User Reviews. Write a Review. Essential Links. By Metascore By user score. Ditto Psapp; sure, they're awfully swank and sultry and sound like the auditory equivalent of sinking into a high-backed leather couch, but when it's done right, it can be a nice change from keying High Lifes out back. The jazzy side of Psapp's "toytronica"-- an unfortunate but oddly sticky qualifier for Psapp's glitchy production style-- is played up to fine effect on The Camel's Back , while the clink-and-clank of the music has been streamlined a smidge to help push the songs rather than the sounds to the forefront.
Sure, there's the occasional plunk of a child's piano or the wheeze of a mini-accordion, but with its sophisticated structures overwhelming its occasional grass-stained dressings, this is hardly kids play-- hell, Galia Durant and Carim Classman have grown since 's The Only Thing I Ever Wanted. Opener and highlight "I Want That" gets the the ball rolling; the song whooshes by like a couple of passing trains, as vocalist Galia Durant makes her empassioned plea for whatever "that" is.
Victoria Bailey emerges with "Skid Row", a country romp that's an ode to an LA honky-tonk and the classic California Bakersfield sound. Folk rocker S.
Goodman discusses changing hearts and minds in the rural American South, all while releasing her debut album in the middle of a global pandemic. Goodman is a rising artist to watch. Despite its reverence for the roots of house music, an appealing eeriness blows through electronic producer Shinichi Atobe's Yes like a salty sea breeze.
On Corb Lund's Agricultural Tragic, he sings of grizzly bears, tattoos, hunting rats and elk, the meaning of author Louis L'Amour's fiction, and the meaning of life.
She manages to pull off the neat trick of coming off sultry and cute at the same time, she never sings anything but the melody, and she generally adds sunshine to the headphones of anyone lucky enough to hear her.
This time out the album is a little fuller sounding, mainly due to the string section that pops up on many of the tracks, but also thanks to a more fully developed sense of arrangement. It also holds some thrillingly catchy songs, like the jumpy, almost danceable album opener, "I Want That"; the jaunty "The Monster Song" which despite its dark lyrical content sounds perfect for a summer day, and if it were used in a commercial could probably sell ice to Eskimos ; and the insistent and almost rocking in a very German way "Mister Ant.
The only criticism one might level at the album is that there is an overall calm to the record that could lull those listeners prone to mistaking peace and quiet for easy listening into a coma. For those with more of an ear for intricate soundcraft and matchbox symphonies, The Camel's Back ends up being something far more satisfying and memorable.