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Lucky Dragons, "Dark Falcon"
555 Recordings
It might happen that the worthiness of an album becomes gauged onwhether it is able to marry the cacophony of firecrackers with thefrailest of human voices. When this happens (and surely it willhappen), then 'Dark Falcon' will be the first and perhaps only recordwhich will measure up to this standard of excellence. 'Dark Falcon,'the first full length from Lucky Dragons (after two lovely EP's on theEnglish Muffin label), does many other things remarkably well, but thispeculiar marriage is the most remarkable. Although there are clicks andclacks aplenty on this album, the electronics grace the songs ratherthan linger at the center of them.
The more frantic songs bookend the album while a bank of more reservedsongs populates the middle of it, where beats plod along with theexhalations of an accordion, or the pluckings of a banjo, or just thewhimsical humming of band members. Besides the frantic ends and themore placid middle, there are further dichotomies both between andwithin songs on 'Dark Falcon.' These contrasts are often exhilarating,and sometimes even exhausting (in the best possible way). "Cherchez leDragon" starts out stuttering wildly, trying to evince some statementbut only ejecting playful electronic spittle. It is not until theplacating guitar part comes in that the song is able to demonstrateclearly what it is trying to say. The guitar and the voice parts soothethe hyperactive beat better than a bottle of Ritalin; once they calmthe beat, the stutter decreases and the song is persuaded intoobedience. The opener, "Heartbreaker," features a field recording ofkids setting off Independence Day firecrackers with cars driving by insome neighborhood in Providence and the sound culled from thisrecording is undeniably urban. Later in the song, a gentle female voicecomes in and it sounds like it is being sung from the most remote logcabin in the backwoods of Montana, or maybe it was Kentucky. I canpicture the cabin, with one window illuminated by a gaslight in thedark, and the sound of a girl singing as it rises, just barelyperceptible, above the wind moving through trees. Somehow, thisunmistakably rural piece, which is clearly not part of the firecrackerrecording, is able to synchronize with the more urban sample, andtogether they create a perfected hybrid lullaby.
It might happen that the worthiness of an album becomes gauged onwhether it is able to marry the cacophony of firecrackers with thefrailest of human voices. When this happens (and surely it willhappen), then 'Dark Falcon' will be the first and perhaps only recordwhich will measure up to this standard of excellence. 'Dark Falcon,'the first full length from Lucky Dragons (after two lovely EP's on theEnglish Muffin label), does many other things remarkably well, but thispeculiar marriage is the most remarkable. Although there are clicks andclacks aplenty on this album, the electronics grace the songs ratherthan linger at the center of them.The more frantic songs bookend the album while a bank of more reservedsongs populates the middle of it, where beats plod along with theexhalations of an accordion, or the pluckings of a banjo, or just thewhimsical humming of band members. Besides the frantic ends and themore placid middle, there are further dichotomies both between andwithin songs on 'Dark Falcon.' These contrasts are often exhilarating,and sometimes even exhausting (in the best possible way). "Cherchez leDragon" starts out stuttering wildly, trying to evince some statementbut only ejecting playful electronic spittle. It is not until theplacating guitar part comes in that the song is able to demonstrateclearly what it is trying to say. The guitar and the voice parts soothethe hyperactive beat better than a bottle of Ritalin; once they calmthe beat, the stutter decreases and the song is persuaded intoobedience. The opener, "Heartbreaker," features a field recording ofkids setting off Independence Day firecrackers with cars driving by insome neighborhood in Providence and the sound culled from thisrecording is undeniably urban. Later in the song, a gentle female voicecomes in and it sounds like it is being sung from the most remote logcabin in the backwoods of Montana, or maybe it was Kentucky. I canpicture the cabin, with one window illuminated by a gaslight in thedark, and the sound of a girl singing as it rises, just barelyperceptible, above the wind moving through trees. Somehow, thisunmistakably rural piece, which is clearly not part of the firecrackerrecording, is able to synchronize with the more urban sample, andtogether they create a perfected hybrid lullaby.
Greg Davis, Ben Vida (Bird Show), and Keith "Hrvatski" Whitman
Greg Davis, Ben Vida, and Keith Fullerton Whitman each have new albums on Kranky and are on the road, touring and playing together as a trio for the first time. While we settled on the name of this Eye segment as "Nightcrawlers," rejected titles included "Menage a' Beard," "Friends That Play Together Stay Together," and "Banjovi." Hopefully we can look forward to an amazing album from the three eventually.
