Although on the surface this may seem a well-thought out extension of the post-punk polemic of bands like The Slits and the Au Pairs via the first wave of Riot Girl, theres an underlying sadness throughout Larceny Old Lace that is difficult to ignore.With all four band members taking lead vocals at various intervals, theres a sense that each and every one of Larceny Old Lace s 11 songs hold a personal memoir for its writer.Jaybird for example might sound like Crystal Stilts covering the B-52s (or vice versa), but as heartfelt tributes go, its Oh such a shame refrain pretty much sums up the tragic circumstances surrounding its subject matter, the late Jay Reatard.
The Coathangers Larceny And Old Lace Rar Free In UnisonTrailer Park Boneyard carves The Coathangers name on the same hanging tree as Erase Errata or Mika Miko, its coarse rhythms and angular riffs perfectly complementing the four-way harmonies that cry Why wont you set me free in unison.
While the ground The Coathangers find themselves treading is well-worn, its their approach and general unpretentious demeanour that makes them and Larceny Old Lace a delightfully engaging collection, even if the underlying message bears a hallmark of sadness and loss. The Coathangers Larceny And Old Lace Rar Plus About ABut theyre no joke now, having since released a pair of riotous albums, plus about a half-dozen trashy, cheeky, shrieking 7 singles. Theyre also grizzled road warriors, headlining bars from Fargo, N.D., to Allston, Mass., in between supporting gigs with the likes of the Thermals, Mika Miko, and These Arms Are Snakes. But here, theyve added more varied songwriting, (relatively) tighter instrumentation, and-- for the first time-- a real studio, the Living Room in Atlanta, where the band reunited with producer Ed Rawls (Deerhunter, Black Lips, Zoroaster). Named after a Mickey Rooney-guesting Golden Girls episode that was itself named after playwright Joseph Kesselrings screwball comedy Arsenic and Old Lace, the Coathangers latest finds a notorious must-see live band finally capturing some of the energy of its shows on record. With all four members trading off idiosyncratic vocals-- ranging from guitarist Julia Kugels Victoria Jackson chirp to drummer Stephanie Lukes full-throated roar-- theres still plenty of jagged, playful aggression, whether that involves damning the titular jerk of Johnny over gloomy post-punk or tearing off faces between stabbing guitar and whirligig keyboard on Chicken: 30. But the Coathangers now pay more attention to detail, starting with first single Hurricane, which veers from raspy shouts and brittle guitar riffs to zombie-apocalypse cheerleader chants and ominous whispers shaded by clacking drumsticks. They also try on more styles: Where Call to Nothing pledges ill-fated devotion through scratchy guitar and heavy bass recalling the Slits, Well Alright rides a demented roadhouse blues and My Baby slows down to a loping love groove-- for stalkers. These might not be the furthest-out ideas, but theyre new for the Coathangers, and theyre executed with badass charisma. Speaking of goodbyes, the kitschy-scary keyboard and cathartic howls of Jaybird make it a fine memorial even if you dont recognize the lyrical reference to the Coathangers former tourmate, the late Jay Reatard. Most impressive of all, though, and a should-be single, is Go Away, a perfectly structured midtempo rocker that turns the tables on every dude who ever sang a whiny song about wanting to be more than just friends. It may have started as a simple gag-- Hey, I like you Go away-- but its as serious as you want it to be.
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