Pele have always produced instrumental music that stuns and impresses, their live shows are never to be missed, and 2000's The Nudeswas a solid record with practiced musicianship and quality melodies.They're also incredibly autonomous, as guitarist Chris Rosenau is atalented recording engineer, so they can record anywhere with littlefuss. Their music is also quite feral in nature, as though it is a wildanimal that needs taming. Pele don't make music, they attack it, andthe story is no different on Enemies. In fact, they've steppedup the violence and are going for broke. These songs have a psychoticenergy, a fervor, that drives them along at a breakneck pace but alsohas the good sense to take a break now and then. The lineup is the sameas The Nudes with one very nice addition in Jon Minor oncomputer. His contributions are what really make this album shine, asthe strange voices and wirey noises give this music a new edge on theold blade. Rosenau's guitar has a fairly similar tone to the one it'shad previously, and the band is as cohesive as ever, even with thestrangeness of Minor's contributions. "Crisis Win" opens the album withJon Mueller's manic drumming and hand claps, and just unleashes on theears for a full eight minutes. Elsewhere, "Hooves" and "HospitalSports" show a new ambient Pele, with Minor's computer talents at theforefront. The energy is what makes their music so compelling, though,as when it returns on "Hummingbirds Eat," you can't help but crank thevolume and get moving. "Cooking Light," a nine-minute shuffle closesthe album, and captures the beautiful improvisation of the band at itsbest. This album is an old friend, a warm blanket, the glove that fitsevery time. With Minor, Pele is a new and brave band with a lot ofground to cover. Read More
