The accent is on the Gothic throughout, reminiscent a wee bit of Garlands-era Cocteau Twins, or Slowdive; albeit with pro-tools.
The gradations of texture are noticeable on Freakout 3 which strays almost into My Bloody Valentine territory before disappearing in a screech.
Lots of samples and beats collide, dismembered voices sometimes float through the remnants of songs like voices coming out of a dream and somehow in the middle of it all there are catchy pop songs (as in Proud Turkeys).
You could say that about Arthur Lee and his music, but he still put a knife to me throat.
For an encore Barnes and Trost decided to mingle with the crowd, and shouting something about “who needs electricity” played Portland Town in the centre of a rapt, admiring circle.
I’m guessing, but I reckon singer and ‘Hands leader Matt Eaton wrote most of these songs in the pub.
I’ve often thought they listened to Van Dyke Parks at the same time as Steve Earle…
It’s a classic guitar pop LP; wonderfully summery and possessing enough hooks and melodies to cheer anyone up. Quite why the band chose to adorn it with a cover that resembles my late grandmother’s sewing bag is beyond me.
Germano is a chanteuse suited for the Gothic bedroom, or the snowed-in log cabin.
Of course, it goes without saying that Chesnutt’s distinctive country twang informs throughout