2008 - People Like People Like You

1 comment:

  1. Spokes-People_Like_People_Like_You-2008-gF
    ARTIST: Spokes
    TITLE: People Like People Like You
    LABEL: Everyone Label
    GENRE: Indie
    BITRATE: 167 kbps avg
    PLAYTIME: 36:49
    RELEASE DATE: 2008-00-00
    RIP DATE: 2009-01-12

    Track List

    1. We Like To Dance And Steal 3:39
    2. Young People! All Together 7:26
    3. Scatter: I Miss You 2:54
    4. Precursor 5:20
    5. Sometimes Words Are Too Slow 9:50
    6. End Credits/Loveletter 7:40

    Release Notes:

    It's incredibly easy to fall in love with an album when it takes in elements of
    slow-core, post-rock, shoe-gaze, folk and pop music so effortlessly, and when
    the richly textured instrumentation balances out grandiose gestures with quietly
    reflective passages, we're primed for singing praises to anyone who'll bother
    listening. This debut album from 5-piece band Spokes will satiate those of you
    yearning for new material from Mogwai, Mono or Explosions In The Sky, and if
    (like us) you fell in love with Do Make Say Think's career defining last album
    "You, You're a History in Rust" you'll have just discovered a natural bedfellow
    in the form of this majestic album. Ruth Ilgunas' sublime violin playing in
    particular adds an extra dimension to the recording (indeed, bringing to mind Do
    Make Say think's latest recruit Julie Penner), offsetting the occasional
    cacophony with substantial introspective weight. The opening track "We Like To
    Dance and Steal Things" echoes Radiohead's seemingly unparalleled ability to
    make popular music challenge and defy the middle of the road, opening with a
    beautifully arranged instrumental passage that builds and escalates into a
    tumble of crescendo and tempered euphoria. "Young People! All Together" employs
    a similar starting point but adjusts the template into a more anthemic beast,
    field recordings of children playing preparing the ground for a brief and
    adrenalin fuelled vocal section before the track ends with staggered guitars and
    crashing drums slowly dispersing to reveal the quiet sonic detritus of static
    and hum. "Precursor", meanwhile, opts for a vast, widescreen aesthetic that
    takes its time unravelling, while the closing "end credits / loveletter" showers
    the audience with a guarded optimism that's almost too pretty for words,
    marrying skittering drums and fragile strings with a constant capacity to build
    and propel itself forward, finally letting go with a solitary piano bringing the
    album to a close with a tinkle. Absolutely gorgeous stuff and a real



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