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the sea and cake, "one bedroom"
Thrill Jockey
I can safely say I haven't been this excited about a Sea and Cake albumsince 1997's 'The Fawn.' After a 2+ year hiatus, the quartet of SamPrekop, Archer Prewitt, John McEntire and Eric Claridge enter theirtenth year of releasing music together with what could easily be theyear's first masterpiece. By 2000, I honestly felt their sound wasbecoming flat, predictable and tired, both from the 'Oui' album andafter seeing a concert where every song sounded almost exactly alike.'One Bedroom' isn't a distant departure from their springy, tropicosound which resounds with a fondness of summertime, warm weather andpalm trees—but is a distinguishable evolution—incorporating only enoughmore instrumentation and variety to keep it natural sounding whilemaintaining an undeniable attractiveness that is truly intoxicating. Itopens with a perfect introduction: the fast-paced, "Four Corners" comesequipped with a three-minute instrumental lead, and from there thegroup springboards into the pleasant "Left Side Clouded," and the nerdypost-electro-funk "Hotel Tell." Punchy mid-tempo electronic jams like"Le Baron," and "Shoulder Length," can easily stop anybody whereverthey are and move uncontrollably to the rhythm while the rimshot-heavytitle track is smooth like a Piña Colada on an unpopulated sunny beach.To me, this album sounds like the time spent away has made the quartetmore fond of playing and making music together. They sound like they'rehaving fun and that this album isn't obligatory in any way. Even thealbum's closer, their tasteful cover of Bowie's "Sound and Vision" is aperfect clue that this group isn't the stuffy lot of artsy jazz fansfrom Chicago that indie record store snobs might have you believe.
I can safely say I haven't been this excited about a Sea and Cake albumsince 1997's 'The Fawn.' After a 2+ year hiatus, the quartet of SamPrekop, Archer Prewitt, John McEntire and Eric Claridge enter theirtenth year of releasing music together with what could easily be theyear's first masterpiece. By 2000, I honestly felt their sound wasbecoming flat, predictable and tired, both from the 'Oui' album andafter seeing a concert where every song sounded almost exactly alike.'One Bedroom' isn't a distant departure from their springy, tropicosound which resounds with a fondness of summertime, warm weather andpalm trees—but is a distinguishable evolution—incorporating only enoughmore instrumentation and variety to keep it natural sounding whilemaintaining an undeniable attractiveness that is truly intoxicating. Itopens with a perfect introduction: the fast-paced, "Four Corners" comesequipped with a three-minute instrumental lead, and from there thegroup springboards into the pleasant "Left Side Clouded," and the nerdypost-electro-funk "Hotel Tell." Punchy mid-tempo electronic jams like"Le Baron," and "Shoulder Length," can easily stop anybody whereverthey are and move uncontrollably to the rhythm while the rimshot-heavytitle track is smooth like a Piña Colada on an unpopulated sunny beach.To me, this album sounds like the time spent away has made the quartetmore fond of playing and making music together. They sound like they'rehaving fun and that this album isn't obligatory in any way. Even thealbum's closer, their tasteful cover of Bowie's "Sound and Vision" is aperfect clue that this group isn't the stuffy lot of artsy jazz fansfrom Chicago that indie record store snobs might have you believe.
