ARTiST: Ladyfinger (Ne)
ALBUM: Dusk
BiTRATE: 224kbps avg
QUALiTY: EAC Secure Mode / LAME 3.97 Final / -V2 --vbr-new / 44.100Khz
LABEL: Saddle Creek
GENRE: Rock
SiZE: 70.44 megs
PLAYTiME: 0h 41min 33sec total
RiP DATE: 2009-05-09
STORE DATE: 2009-05-08
Track List:
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01. Over & Over 2:50
02. A.D.D. 4:28
03. Little Things 3:53
04. Two Years 4:37
05. Read The Will 4:48
06. Work Party 3:45
07. Bones 3:03
08. Plums 4:12
09. Let's Get Married 2:58
10. Born In The Eighties 6:59
Release Notes:
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Whichever way you look at it, Ladyfinger (ne) has always been somewhat of an
awkward fit. As far and away the heaviest band on Conor OberstÆs Saddle Creek
Records, their sound isnÆt exactly one that would seem very enticing to fans of
labelmates Bright Eyes or Tokyo Police Club. They draw heavily from punk and
post-hardcore, but donÆt pander to those crowds, going for a broader style than
many of their peers are willing to attempt. And while theyÆre capable of
executing a massive, almost stoner/desert rock sound to offset the more
discordant hardcore riffs, when recorded by metal producer extraordinaire Matt
Bayles (who has produced and mixed classic albums by Mastodon, Botch, and Isis)
the songs can be perceived as sounding too mainstream-friendly to appeal to the
more insular-minded metal audience. At the rate the foursome is going, however,
it shouldnÆt be much longer before enough people from all sides realize just
what Ladyfinger (ne) is capable of.
The Omaha, Nebraska band has enormous crossover potential, which was evidenced
on 2006Æs debut album Heavy Hands. The follow-up Dusk marks an even bolder step
forward. On the last album, the mixture of rock, metal, and punk tended to be a
little awkward at times, BaylesÆs trademark robust production playing up the
heavy rock influence a little too much for Ladyfinger (ne)Æs own good. With the
new album, though, both the band and Bayles have found a comfortable middle
ground, the band delivering far more dynamic songwriting without betraying the
visceral power of the arrangements, the producer adding a more subtle touch from
time to time. Consequently, weÆre left with a bold record thatÆs as accessible
as it is visceral.
Despite the bandÆs considerable musical chops, their one ace in the hole is
singer/guitarist Chris Machmuller, whose warm, drowsy croon fits somewhere
between Queens of the Stone AgeÆs Josh Homme and ColdplayÆs Chris Martin. Cynics
might derogatorily attach the label ôemoö upon hearing that throaty voice
singing introspective lyrics, but Machmuller never relies too heavily on the
sensitive side, playing the contrast from soft to aggressive to great effect.
Nowhere does his approach work better than on the single ôLittle Thingsö. His
charismatic delivery is underscored by a varied yet cohesive, contagious
arrangement, a choppy punk intro backing up a gentle vocal melody, which then
gracefully shifts into something out of the ConstantinesÆ book of tricks,
exploding into a wickedly catchy, Fugazi-inspired riff at 1:23. Brooding yet
hard charging, it sets the tone for the rest of the album, and is one of the
better rock singles of early 2009.
For the most part, the other nine tracks hold their own very well. ôOver and
Overö expertly blends a Queens of the Stone Age groove with dissonant
post-hardcore guitar tones, while the pummeling ôA.D.D.ö goes for a far more
physical approach. BaylesÆs mix helps create a gigantic bottom end, the song
anchored by the Jesus Lizard-inspired rhythm section of bassist Ethan Jones and
drummer Pat Oakes. MachmullerÆs exhortations of, ôYouÆre just a kid, just a
kid!ö are a well-timed moment of melody. ôTwo Yearsö starts off in the
contemplative direction of Cursive, but suddenly explodes with an up-tempo
arrangement reminiscent of Drive Like Jehu. Previously released as a single in
2007, ôWork Partyö is given a good spit and polish by Bayles, and the scorching
version we hear on Dusk absolutely obliterates the original. While MachmullerÆs
Josh Homme worship is a bit shameless, the songÆs rampaging pace and its raucous
shout-along chorus make it simply undeniable.
The album gets a little bolder during the final 14 minutes, starting with the
surprisingly gentle ôPlansö, which if it were not for the soaring guitar work by
Machmuller and Jamie Massey throughout the track, could be described as
ôliltingö. If ôLittle Thingsö doesnÆt help attract a larger audience, ôLetÆs Get
Marriedö just might. MachmullerÆs ôus against the worldö sentiment is
considerably more tongue-in-cheek than one would expect in a song of that name.
Interestingly, the seven-minute ôBorn in the 80Æsö is the albumÆs sole minor
stumbling block, in which the band goes for a gigantic sound akin to Isis and
tries to act as Generation Y spokesmen at the same time, but with MachmullerÆs
lyrics lacking any of the eloquence he shows throughout the rest of the record
("It might be time we prove our use / We kind of suck in the workplace / ItÆs
high time that we made an excuse"). Still, the entire bandÆs performance on the
track is blistering, capping off an album that fully deserves to be a crossover
success on the same level as the Gaslight Anthem in 2008, and not be confined to
a mere 20-minute slot on Warped Tour.