CRYSTAL STILTS
Angel Island, The Mantles (SF record release party)
Sat, May 7, 2011
9:00 pm
Rickshaw Stop
$10.00 - $12.00
Tickets
This event is all ages
Adv tix $10/ doors $12
http://www.rickshawstop.com/event/34675/
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CRYSTAL STILTS
Back in 2008, a lot of heads turned to clock Crystal Stilts’ Alight Of Night, their first album after a string of here-today-gone-tomorrow singles and EPs. It wasn’t exactly a surprise – Crystal Stilts felt like part of a new age dawning, of underground collectives and random, crazy groups who’d rediscovered the joys of noise-pop and set about creating their own Creations – but there was something unique about Crystal Stilts, something hermetic yet gorgeous about the world they created. With their new Slumberland Records album, In Love With Oblivion, they stretch things further still, honing their songcraft, indulging their more strung-out sides, full of elliptical verses and perfectly chiming guitars, cranky pop organs and the punkest of rhythms. It’s a perfect blend of pop smarts and beguiling experiment. The best songs on In Love With Oblivion are effortless, rapturous – “Through The Floor” burns on fevered energy; “Silver Sun” kisses the air with a beautiful stream of jangle guitar; “Alien Rivers” is a spooked, psychedelic requiem, roughly Opal’s Happy Nightmare Baby + 14 Iced Bears’ “Mother Sleep” x Victor Dimisich Band. (But that was my math, not theirs.) “Precarious Stair” is my favourite girl-pop-song-not-actually-fronted-by-a-girl since, I dunno, “Just Like Honey."
“This is one of the best garage pop sides since The Chills’ own Brave Words.” –-The Wire
“Quite simply, Alight Of Night is one of the most breathtaking records these ears have been partial to in a long while, and even if Crystal Stilts never make another record, their legacy is assured.” –-Drowned In Sound
“One of the year’s best albums.” –-Brooklyn Vegan
“This is one of the best garage pop sides since The Chills’ own Brave Words.” –-The Wire
“Quite simply, Alight Of Night is one of the most breathtaking records these ears have been partial to in a long while, and even if Crystal Stilts never make another record, their legacy is assured.” –-Drowned In Sound
“One of the year’s best albums.” –-Brooklyn Vegan
Angel Island
"The frontman for Angel Island, Justin Goldman, has one of those voices that feels right at home taking on spidery melodies about heartbreak. One part Andrew Goldfarb (the Slow Poisoner) and one part Brett Anderson (Suede), Goldman’s voice leads the charge on churning potboilers like 'Kicking & Screaming' as well as more uptempo, tambourine-driven fare like 'What It Means, Where It All Comes From.' Recommended if you like the sounds of their Shit Krystal labelmates, Billy & Dolly." --Noise Pop
The Mantles (SF record release party)
Celebrate the release of the Mantles new record on Slumberland!
"The Mantles is the kind of album that defies expectations. Its shades of New Zealand-ry (an organ sound and laconic vocal delivery not far from Flying Nun groups such as the Chills and the Verlaines), its Paisley Underground touches (some reviewers have mentioned Steve Wynn and Dream Syndicate), and its better-than-NME's-C86-cassette pop appeal seem very au courant, but come across as natural as breathing. ... the Byrds-y jangle of 'Disappearing Act'; the churning propulsive energy of 'What We Do Matters'; and maybe most of all, the brooding balladry of 'Look Away,' a now-I-see-you-now-I-don't relationship ode which possesses a kind of offhand melodic and vocal strength that sounds easy to achieve, but obviously isn't, because so few ever manage to do it." --SF Bay Guardian
"The Mantles is the kind of album that defies expectations. Its shades of New Zealand-ry (an organ sound and laconic vocal delivery not far from Flying Nun groups such as the Chills and the Verlaines), its Paisley Underground touches (some reviewers have mentioned Steve Wynn and Dream Syndicate), and its better-than-NME's-C86-cassette pop appeal seem very au courant, but come across as natural as breathing. ... the Byrds-y jangle of 'Disappearing Act'; the churning propulsive energy of 'What We Do Matters'; and maybe most of all, the brooding balladry of 'Look Away,' a now-I-see-you-now-I-don't relationship ode which possesses a kind of offhand melodic and vocal strength that sounds easy to achieve, but obviously isn't, because so few ever manage to do it." --SF Bay Guardian
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