From the moment the opener “The Great before” on Share’s third record begins, a spell is cast, and you know immediately this is what the music nuts (I think that includes me?) refer to as a “headphones album”. It’s surreal stuff, way too easy to get lost in, and it’s great how the song ends – chopped up vocals diluting into keyboard beeps.
The press release poster thing is pleasing for once – “the album is an expression that doesn’t bend to the commonality of genre constraints,” it informs me. Thank God.
“Too Shy To Blush” follows it up, and it’s a swanky little tune that’ll have you moving in one way or another – the confusing part is how. The beat could serve well as a slow backdrop for what I prefer to refer to as “fast talking rhymey stuff”, but it’ll also make you want to sway for a bit before running off to live on an undiscovered island or a commune. It is just that agreeable.
Halfway through “Silhouette” I realize how much Andrew Sisk’s vocals sound like Jacob Moeller’s (of his solo project the Werneckes) – another incredible Atlantic musician. This is cemented further on the next tune, the droning beat of “Foreign Church” and from pretty much every track on. The resemblance is uncanny.
“Murderer” jumbles along with dance (the adjective, not the genre) influences in the strangest way. This is music at its weirdest, coolest and most rhythmic.
“Dance Dance Retribution” expands on this approach, though I can’t dig it as much. In fact, it’s a little freaky how much it runs like Belle & Sebastian’s “Electric Renaissance” and a Cake song put together. Of course, for some this will be an ideal match.
A lovely bongo beat, pounding electronic (the adjective, not the genre) rhythm, and some absolutely wonderful guitar (complete with spacey screeches) prove “Overtake” one fine driving song, and a favorite off the album.
“The Yard” is on par with it too, though for whatever reason the sound quality is inferior to the rest; certainly not as good as it deserves. The rushing drum beat, guitar and vocal wailing are placed between a simple story and Catherine MacLellan’s absolutely adorable vocals, which bear a strong resemblance to Rhiannon’s of Coast Guard.
“The Dipper” kindly and gently finishes off the record here.
Conclusion: this is really great, weird music. If you like really great, weird music, think about purchasing “Pedestrian”. Check http://www.forwardmusicgroup.com/main/share.htm and/or http://www.myspace.com/andrewsisk to hear some of the songs.
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