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The Aislers Set, "How I Learned to Write Backwards"
Slumberland
It is truly hard to find anything terribly wrong with The Aislers Set.With each release, the band offers a gracious gift basket of shinypost-pop which unfailingly brings up the familiar names of Spector,Wilson, et al. Aislers Set prefer to drench their vocals in a healthyamount of reverb which often gives the songs a ghostly feel amidst thepoppiness. Their albums also enjoy jumping out with the first track, sodon't get caught off guard when this third album leaps out headstrongwith the first song, "Catherine Says," a heavenly track which featuresbells and handclaps accompanying Amy Linton's cherubic voice. As thesong climaxes, the chorus rises like church patrons from their pews,getting faster and louder and more celestial; as the chorus hastens,the song's denomination takes on a strange mixture of Roman Catholicismand Southern Baptist, as bells alternate with handclaps and thenultimately join forces. "Mission Bells" features its own blend ofCalifornian minor-key organ and guitar which, through some strangeassociations in my brain, recalled scenes from the film "Three Amigos,"particularly with the antagonist, El Guapo. Incidentally, this song wasreleased as a single on a pleasant 3-song 12" which preceded thisalbum's release. Perhaps my favorite section of this album starts atthe infectious chorus of the abruptly-ending "Action AttractionReaction" (it has this lovely ascending angelic sound) and goes throughthe beginning of the next song, "Through the Swells" (I swear everytime I hear the first guitar part that I am about listen to "BigmouthStrikes Again"). There are great songs on this album, but it stillseems to pale for some reason alongside other Aislers Set albums. Itfeatures the standard Aislers assemblage of rockers, ballads,horn-filled jumpers, and crooners, but sometimes the hooks are missing.The song also seem shorter (and though I have not double-checked myarithmetic, I can say with certainty that most of them are shorter), soperhaps the songs end prematurely, without ever properly filling out orblossoming or earning their hooks. Regardless, this is still a finealbum and it would do well to grace the phonograph or CD player of anyFriday night cocktail party which shows the potential for just a littledancing once the festivities get underway and the hors d'oeuvres areall eaten.
It is truly hard to find anything terribly wrong with The Aislers Set.With each release, the band offers a gracious gift basket of shinypost-pop which unfailingly brings up the familiar names of Spector,Wilson, et al. Aislers Set prefer to drench their vocals in a healthyamount of reverb which often gives the songs a ghostly feel amidst thepoppiness. Their albums also enjoy jumping out with the first track, sodon't get caught off guard when this third album leaps out headstrongwith the first song, "Catherine Says," a heavenly track which featuresbells and handclaps accompanying Amy Linton's cherubic voice. As thesong climaxes, the chorus rises like church patrons from their pews,getting faster and louder and more celestial; as the chorus hastens,the song's denomination takes on a strange mixture of Roman Catholicismand Southern Baptist, as bells alternate with handclaps and thenultimately join forces. "Mission Bells" features its own blend ofCalifornian minor-key organ and guitar which, through some strangeassociations in my brain, recalled scenes from the film "Three Amigos,"particularly with the antagonist, El Guapo. Incidentally, this song wasreleased as a single on a pleasant 3-song 12" which preceded thisalbum's release. Perhaps my favorite section of this album starts atthe infectious chorus of the abruptly-ending "Action AttractionReaction" (it has this lovely ascending angelic sound) and goes throughthe beginning of the next song, "Through the Swells" (I swear everytime I hear the first guitar part that I am about listen to "BigmouthStrikes Again"). There are great songs on this album, but it stillseems to pale for some reason alongside other Aislers Set albums. Itfeatures the standard Aislers assemblage of rockers, ballads,horn-filled jumpers, and crooners, but sometimes the hooks are missing.The song also seem shorter (and though I have not double-checked myarithmetic, I can say with certainty that most of them are shorter), soperhaps the songs end prematurely, without ever properly filling out orblossoming or earning their hooks. Regardless, this is still a finealbum and it would do well to grace the phonograph or CD player of anyFriday night cocktail party which shows the potential for just a littledancing once the festivities get underway and the hors d'oeuvres areall eaten.
