I also like the quiet tip-tap drumming; its metronomic and ever so slightly trippy, like the Floyd with Barrett, it's job is to keep time and stop things getting too gushy or splurgy. That's not to say it doesn't splurge out; So Much For is classic 90-91 guitar pop, Lush style.
You can't beat Dutch growly indie pop at it's best. The problem with Dutch indie rock lies with it not always being a genre that lives up to its vast potential. Too many near misses, too little confidence, too much reliance in staying with an unremarkable pack. Still, when a band gets things right, there is something very appealling about the whole shebang; this is a scene shorn of all the pompous wannabe-isms of UK or US counterparts. And usually Groningen's Subroutine records are adept at finding great, interesting acts from this most lumpen of genres. AC Berkheimner's release is certainly one of the better efforts, that's for sure.
There's a great feeling of calm about AC Berkheimer's muse, however worked up they get they never lose a sense of the ethereal. Check out Ordinary Days. Maybe it's that boy-girl thing. Balancing this out at times, there's a sense of meance in tracks like Under Arcade 24, (which doesn't half remind me of an Isn't Anything rehearsal tape I once had). And it's a record full of unlooked for twists and turns. It certainly doesn't go from A to B in a dull way. The unremarkable guitar lines on For He's Not There belies the brilliant vocal delivery and chorus that catches you totally unawares.
I also like the quiet tip-tap drumming; its metronomic and ever so slightly trippy, like the Floyd with Barrett, it's job is to keep time and stop things getting too gushy or splurgy. Check out Isah. That's not to say it doesn't splurge out; So Much For and the stunning Grand Hotel is classic 90-91 guitar pop, Lush style.
If this lot were British they'd be Amsterdam's darlings. Typical Holland.