Sunday 3 October Monday 4 October Tuesday 5 October Wednesday 6 October Thursday 7 October Friday 8 October Saturday 9 October Sunday 10 October Monday 11 October Tuesday 12 October Wednesday 13 October Thursday 14 October Friday 15 October Saturday 16 October Sunday 17 October Monday 18 October Tuesday 19 October Wednesday 20 October Thursday 21 October Friday 22 October Saturday 23 October Sunday 24 October Monday 25 October Tuesday 26 October Wednesday 27 October Thursday 28 October Friday 29 October Saturday 30 October Sunday 31 October Monday 1 November Tuesday 2 November Wednesday 3 November Thursday 4 November Friday 5 November Saturday 6 November Sunday 7 November Monday 8 November Tuesday 9 November Wednesday 10 November Thursday 11 November Friday 12 November Saturday 13 November Sunday 14 November Monday 15 November Tuesday 16 November Wednesday 17 November Thursday 18 November Friday 19 November Saturday 20 November Sunday 21 November Monday 22 November Tuesday 23 November Wednesday 24 November Thursday 25 November Friday 26 November Saturday 27 November Sunday 28 November Monday 29 November Tuesday 30 November Wednesday 1 December Thursday 2 December Friday 3 December Saturday 4 December Sunday 5 December Monday 6 December Tuesday 7 December Wednesday 8 December Thursday 9 December Friday 10 December Saturday 11 December Sunday 12 December Monday 13 December Its mournful cellos and haunting violins are dissonantly if pleasingly matched with triumphant rhythms and exultant melodies, resulting in a record that is at once grand and intimate.
With moments of pop savvy reminiscent of their pals in Vampire Weekend and the emotional subtlety of the Shins, Ra Ra Riot's songs inhabit a space that is both bubbly and bittersweet. To wit, swirling album opener "Ghost Under Rocks" blooms from a melancholic cello line into skittering, propulsive post-punk percussion.
And their excellent cover of Kate Bush's "Suspended in Gaffa" finds the appropriate whimsy in the bounce of the melody, but makes the song safe for those who are uncomfortable with Bush's theatrical trilling. Peter's Day Festival" and "Can You Tell" represent the breezier, brighter side of the band, taking perky melodies and swelling them with luscious string arrangements. On "Winter '05," he perfects a faux-Brit, Morrissey-inspired warble, adding another layer of frost to the window pane of a lovelorn co-ed.
But the ship does not capsize; The Rhumb Line instead drops anchor as a solid debut that beckons refinement and experimentation further down its course. By Julia Askenase August 27, pm.
0コメント