Minks - Our Ritual

Fantastic record!!!

New York duo Minks operate a picture-heavy blog that announces a band equally in thrall to American scuzz punk and classic British indie, but it’s the Anglophile side that dominates their debut album ‘By the Hedge’.

Multi-instrumentalists Sean (sometimes Shaun) Kilfoyle and Amalie Bruun have pitched up with a slightly greater than lo-fi production which cunningly approximates the ‘as good as it gets’ sound of ambitious mid-80s guitar-pop. While budget-constricted musicians of that era strived to rise above the limitations of the cheap studios and jobbing engineers that they were saddled with in their attempts to break out of the ‘perfect pop’ underground (think of all those would-be stars struggling along on Cherry Red or early Creation Records, or their Antipodean counterparts inadvertently conjuring up the Dunedin Sound on Flying Nun), Minks stick to a deliberate home studio ethic in homage to a sound that never wanted to exist in such a ghetto. However, by doing so, Minks have succeeded in creating an album with bucketfuls of understated charm and a near perfect run of tunes. Barring a couple of downbeat moments (the almost self-explanatory dirge ‘Out of Tune’ and the slurred Dylan/Felt parody verses of ‘Funeral Song’), ‘By the Hedge’ soars highly on uplifting dream-pop (cards-on-the-table opener ‘Kusmi’) and never-never indie-pop fantasy (such as  ‘Juniper’ – perhaps a nod to The Pastels’ ‘Juniper Beri-Beri’ fanzine).

Throughout ‘By the Hedge’, Kilfoyle and Bruun’s vocals are mixed with just enough reverb to obscure any clear phrasing, making the album already sound like it’s been taped for the listener by a well-meaning friend with a far from top-of-the-range record deck. Fittingly, Minks also manage to slip in a note-perfect Flying Saucer Attack-style instrumental, ‘Indian Ocean’ (title borrowed from The Field Mice), early on without disrupting the album’s tuneful flow. In Minks’ heads it may forever be a rainy 80s afternoon in Leamington Spa, but ‘By the Hedge’ is still a pop triumph. ~ Bowlegs

Vindos da saudosa Brooklyn (haha fato que já deixou de ser novidade a um tempo) O Beach Fossils faz um som que remete muitas vezes aos conterrâneos do The Pains Of Being Pure At Heart, porém, mais lo-fi/dream-pop do que Shoegaze/Noise. O álbum de estréia homônimo desta deliciosa…

Fireflies - Autumn Almanac (Littlemusic, 2009)

BLURT Fireflies is the work of one man, Lisle Mitnik. A transplanted New Englander now living in Chicago, he records all of the music on his laptop and plays all of the instruments himself.  His terrific debut record, Goodnight Stars, Goodnight Moon, was released in 2007 as a split release between two Swedish labels: Lavender Records and Music is My Girlfriend.  After the Snowstorm EP from 2008 he returns here with his sophomore effort and it’s just as graceful and lovely as the debut.

One look at the bands he lists as influences on his MySpace page and you’ll know where this record is going: Field Mice, Galaxie 500, the Cat’s Miaow, The Clientele, etc. You get the picture. The 11 songs on here all feature Mitnik’s patented lightly strummed jangle, brushed drums, whooshing keyboards and his breathy, gentle vocals. Songs like the (appropriately titled) “The Breeze”, “Your Map”, “Stars Falling Down” and “Sunsets in June” all tug at the heartstrings of any Sarah Records fan and prove Mitnik’s strength as a wonderful pop songwriter.