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▀█████▓▌ FORSAKEN Proudly Presents ▐▓█████▀
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▓█▀▄▄ Artist : Aeroplane Pageant ▄▄▀█▓
▐▓▌▐█▌ Album : Even The Kids Don't Believe Me ▐█▌▓▌
▐▀▄██ Label : Independent ██▄▀▌
▄███▌ Genre : Indie ▐███▄
▀███▌ Source : CD ▐███▀
▐▄▀██ Street Date : 2009-04-10 ██▀▄▌
▐▓▌▐█▌ Quality : 858 kbps / 44.1kHz / 2 channels ▐█▌▐▓▌
▓█▄▀▀ Encoder : FLAC 1.2.1 ▀▀▄█▓
▓███ Size : 192.89 MB ███▓
▀ ▀█▌ Time : 29:42 min ▐█▀ ▀
▓▄███ Url : http://www.aeroplanepageant.com ███▄▓
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██▌ 1. Memory Begins Elsewhere 0:55 ▐██
██▌ 2. Stars Still Pretty 3:06 ▐██
██▌ 3. And We Go 3:17 ▐██
██▌ 4. Nobody Gets Hurt 4:12 ▐██
██▌ 5. Even The Kids Don't Believe Me 4:01 ▐██
██▌ 6. Where To? 2:42 ▐██
██▌ 7. See You At The Circus (Farrago) 0:54 ▐██
██▌ 8. I Remember I Think 3:30 ▐██
██▌ 9. Mouthful of Flowers 2:39 ▐██
██▌ 10. End The Impasse 0:58 ▐██
██▌ 11. After The Car Crash 3:28 ▐██
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████ Aeroplane Pageant is not a pop band all the time. ████
████ ████
████ But after fourteen months in a studio that sits directly under ████
████ the rattle of the Wantagh train station and following fifteen ████
████ years of brutal friendship, Aeroplane Pageant now introduces its ████
████ latest effort: FLOAT ABOVE THE YARD (LP3). ████
████ ████
████ And so in this æyard,Æ or better yet on this genre-less album, ████
████ you might æfloat aboveÆ an impressionistic landscape dappled with ████
████ some wolves, some apples, a crowd that gathers and then cheers on ████
████ a horse, a family being pushed off a house, a few birds and ████
████ flowers, some black flowers, a lovely garden, some teeth , a ████
████ hundred or more ghosts, and always a TV, always a billboard, a ████
████ big moon, a few cities, some cake thatÆs been left on the floor, ████
████ and of course the compulsory æconfessing young bear,Æ a bit of ████
████ blood, some of it fake, a rope hanging by a treeà ████
████ ████
████ àas these songs are often dark and quirky and intimate narratives ████
████ where a blend of real and imaginary ædesperate characters,Æ beg ████
████ to love, to be loved, and to make sense of things, ôas time, it ████
████ burns us thin,ö and loss, death, and confusion undo youthful ████
████ expectations. And this idea of struggle and disillusionment is ████
████ never more obvious than midway through the album on, We Were Once ████
████ a Boy, when singer/songwriter Brian Kelly proclaims over cut-up ████
████ horns, primordial drums, and panicky guitars, ôNow weÆre hanging ████
████ by a rope on a tree in our front yardàand this kind of heaven ████
████ isnÆt what weÆd said it be. ████
████ ████
████ So how does one recover in the face of disappointment? How to ████
████ begin again? ôTo see again with plain eyes, to be again this time ████
████ and not pretend IÆm aliveàand we didnÆt dream enough in this ████
████ house!ö shouts the band in harmony during the minimalist and ████
████ electronic, Brief Confessions of a Young Bear, a buoyant track ████
████ held together by jittery percussion and a zigzagging bass line. ████
████ And this ôweö sentiment of starting again together, of ████
████ understanding, overcoming, and rising above the bleaker moments ████
████ echoes throughout here, as the songs and music urge us to observe ████
████ and celebrate, and to listen to each other, and to consider hope ████
████ and the human imagination first, even as we grow and sheer apart, ████
████ ôPart of you has drifted/Like a voice that breaks with distance/ ████
████ And I hate that IÆll admit it/So I came here to listen/ I came ████
████ here for you,ö we hear on the cinematic orchestral number ████
████ Desperate Characters. And then the hushed playful exit, when ████
████ light breaks for a moment, a sense of release or acceptance on ████
████ the albumÆs closing track, Hello Radio; itÆs a blurry-ballad that ████
████ fights and breathes through shards of noise, as children laugh in ████
████ the backdrop, when Kelly gently asks of someone or everyone, ôI ████
████ want you to be good to yourself, good to you and everyone else.ö ████
████ ████
████ àand yet this album, according to Kelly, ôis a hyperrealistic ████
████ paean to the suburbsùwhere the events within could happen in ████
████ anyoneÆs backyard,ö in repeating landscapes, houses stacked on ████
████ top of each other, amid the drone and anxiety of shopping mall ████
████ America, amid the comforts of television and self-imposed ████
████ alienationùall deliberately infused with sharp juxtapositions of ████
████ image and sound, at once insular and celebratory, bright and ████
████ dark, abstract and material, noisy and melodic, repetitious and ████
████ formless, organic and electronic. ████
████ ████
████ This brace of songs is most often motivated by the sensibilities ████
████ of the early dark folk idiom, the earthy confusion of psych-pop, ████
████ the exploratory provocations of bands like the Velvet ████
████ Underground, Guided by Voices, and the Flaming Lips. ôItÆs the ████
████ sheer excitation of the imagination. ItÆs trying to make things ████
████ happen. And this time we wanted to combine literary-minded ████
████ content with some of the latest experimental production ████
████ techniques. Our idea was if we can hear or visualize the sound in ████
████ our heads then letÆs figure out a way to build it,ö says Brian ████
████ Kelly. ████
████ ████
████ The making of this album is an over-dramatic love-story. ItÆs a ████
████ story suffered by a collection of best friends, all of whom have ████
████ known each other since the earliest days of high schoolùas they ████
████ now plug away at their perfunctory day-jobs as writing ████
████ instructors, journalists, mailmen, parks department employees and ████
████ tech-managers, and unemployed US citizensù developed in a ████
████ concerted fanaticism with sound, with creating sounds, with ████
████ constructing ideas and tying songs together, ôWe really wanted to ████
████ blur the content of these songs so itÆd be difficult to ████
████ distinguish between whatÆs real and whatÆs fakeàwe wanted to ████
████ disrupt the illusion or the expectation of what traditionally ████
████ makes up æthe song,Æö offers bassist Tim Watson. Drummer Mike ████
████ DeLorenzo elaborates on this idea, by stating, ôThe ideas weÆd ████
████ established from the get-go were something weÆd all felt closely ████
████ mirrored our own little realitiesùconstantly in flux and ████
████ discontinuous, almost schizophrenic, and never quite real, ████
████ perhaps sometimes too real.ö ████
████ ████
████ And so in comes 2-time Grammy Winning Mixer ôBassyö Bob Brockman ████
████ to materialize Aeroplane PageantÆs ôlittle realities.ö Through a ████
████ mutual contact at Technicolor Studiosùthe studio that produced ████
████ the brand new AP video (written/directed by Brian Kelly) for ████
████ ôHelp Me Shoot This Apple off My HeadöùBrian Kelly happened to ████
████ hook up and interview Brockman for a MEDIA Magazine article he ████
████ was writing on the plight of the music industry. Somewhere along ████
████ their discussions Brian emailed Brockman some new material AP was ████
████ working on, and shortly thereafter Brockman came down to see AP ████
████ live, ôIt was just the right blend of weird and popàand itÆs ████
████ refreshing to see a band play their instruments, not just their ████
████ computers, and make songs that arenÆt so ædetached and ████
████ coolÆàthereÆs a vulnerability and warmness thatÆs especially ████
████ inviting in this digital age,ö says Brockman of Aeroplane ████
████ PageantÆs sound. ████
████ ████
████ And of course these warm feelings were immediately reciprocated, ████
████ as the band was now fixed on collaborating with an expert like ████
████ Brockman, resulting in ôsome bigger and lower end sounds for this ████
████ record,ö says, multi-instrumentalist Chris Aguis, ôsomething that ████
████ Brockman is well-known for producing.ö ôWe saw it as an ████
████ opportunity for the band to generate this odd-Frankenstein by ████
████ bringing BobÆs distinct R&B, pop, and hip-hop influences in ████
████ conjunction with some of our fringier tastes,ö explains lead ████
████ guitarist/multi-instrumentalist Michael Areephituk. ████
████ ████
████ And sure some of the sounds on FLOAT ABOVE THE YARD are small, ████
████ and some are just grotesquely big, others are looped or stretched ████
████ and frequently destroyed, and then sometimes unnecessarily put ████
████ back together. But nevertheless Aeroplane Pageant produced all of ████
████ these sounds, Grammy Award Winning mixer ôBassyö Bob Brockman ████
████ (Notorious BIG, Debbie Gibson, Bob Dylan) mixed it all, and Joe ████
████ Lambert (Deerhunter, the National, Animal Collective) mastered ████
████ them. And so with the completion of their third full-length ████
████ album, this collection of childhood friends is simply thrilled to ████
████ be making sounds and songs, and ultimately ômaking things ████
████ happen!ö ████
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