The JangleBox

Indie, Noise, Shoegaze… Music

Radio Days – ALLAH-LAS: Calico Review (Mexican Summer, 2016)

Calico Review

Los angelinos Allah-Las han sofisticado su sonido primigenio, provocando en este trabajo una expansión sonora aunque sus presupuestos iniciales y sus referentes continúan siendo los mismos, es decir: el Pop de los sesenta en diversas variantes, desde el Garaje hasta el sonido más experimental de a Velvet Underground, desde el sonido más desenfadado de Paul Revere & The Raiders. hasta las influencia más clásica de sonidos californianos en vertiente Raga-Rock vía Byrds o Playera vía Beach Boys (como anécdota, os cuento que han utilizado la misma consola que aquellos emplearon para la grabación de su Pet Sounds).
Un disco más que notable y aprovechable en el que muestran una gran solvencia a la hora de componer o ejecutar los doce cortes que componen este Calico Review.

“On the Allah La’s Calico Review, the band seem well aware of this history of psychedelia and the genre’s ability to say two things at once. That is, to entertain listeners via traditional boy/girl rock and roll tropes while building upon secondary levels of meaning: to entertain the feet while feeding the head. Miles Michaud, Pedrum Siadatian (lead guitars), Spencer Dunham (bass), and Matthew Correia (drums) continue their growth as a band with their third release. Calico Review places the Allah Las firmly at the forefront of the current, third psychedelic revival and should gain them a growing audience.
The album opens with Michaud singing “Strange heat been coming round / Sad, heavy on this town… For all I know, we’ve seen the darkest blow.” Michaud’s pronunciation of “heat” sounds almost like “hate”, evoking a sense of our troubled and divisive times. The feeling of contemporary unease and disconnection is only amplified through Calico Reviews’s many alleged love songs. “Satisfied by only what you know / Could you believe in something?”, Michaud sings in the second song, while in “Autumn Dawn” Siadatian expresses a similar doubt, asking “Could it be a sanctuary that I can’t explain? / When tomorrow comes around will you still be the same?”.
There’s an implicit criticism, throughout the album, that the personal choices we make in our relationships reflect the broader patterns of disassociation and avoidance explicit in our broader political climate. This mood is dominated by a sense of second-guessing and stubborn reliance upon unhealthy habits. “If you had a chance to”, Michaud sings in “Could Be You”, “Would you do it all again?” Then, in “Mausoleum”, Siadatian sings/sighs “Many times over, dream and recover” as if locked in an inescapable pattern. The vain and troubled subject of Dunham’s “Famous Phone Figure” is locked in just such a vacuous pattern of Snapchat pseudo-celebrity. Even the solace of Correia’s “Place in the Sun” is undercut by doubt and recrimination: “There’s no time to reason why / it’s gotta be this way / Once it’s gone we can’t go on / There’s nothing left to say.” All of these songs are shaped by an increasingly frustrated search for self-fulfillment. If there’s a central message, it may be that we are searching for solutions in all the wrong places” (Pop Matters)

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18 octubre, 2016 - Posted by | Allah-Las

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