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War Poems, We Rested
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War Poems, We Rested in Franklin, TN
Current price: $28.99
Barnes and Noble
War Poems, We Rested in Franklin, TN
Current price: $28.99
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Size: OS
R. Ring
's
Kelley Deal
and
Mike Montgomery
started work on their second album just before the COVID-19 global pandemic hit, then refined it while they worked on other projects during quarantines and lockdowns (
Deal
toured with
Protomartyr
;
Montgomery
recorded other bands at his Candyland studio). This hurry-up-and-wait creative process gives them the best of both worlds on
War Poems, We Rested
: The duo holds onto
Ignite the Rest
's fun and spontaneity and expands on its blend of indie, post-rock, and Americana with confidence and creativity. Just how much
expanded their dynamic and dramatic range is immediately apparent on
's bookends. Vibraphonist
Joe Suer
gives the indie noir of opening track "Still Life" an extra dash of intrigue as
sighs, "All I want is a cigarette/And someone to pay the rent" with a rumpled sultriness.
sends off the album with "War Poems," which weaves
Suer
's vibes and
Lori Goldston
's cello into a homey version of post-rock that's equally cosmic and cozy. In between these songs,
find other fresh expressions of the sweetness and grit that made
so winning.
's work with
the Breeders
the Kelley Deal 6000
made her one of the architects of the fuzzy, chugging, 1990s rock that legions of 21st century bands try to recapture, but the standouts "Hug" and "Cartoon Heart/Build Me a Question" underscore that her charisma is inimitable.
Bat Fangs
/
Speed Stick
drummer
Laura King
proves she's an integral part of the project on
, whether she's filling up the room on "Stole Eye"'s quintessential heartland indie rock or crafting a slyly sexy backdrop on "Def Sup" that
embellish with low-slung synths and fractured guitars. It's easy to take these quicksilver shifts in stride thanks to
's more expressive songwriting, another area where the time they spent tinkering paid off. The poignant warmth of "Embers on a Sleepwalk" calls to mind prime
Sparklehorse
with its rickety piano melody and the creak in
's voice, and when he asks "shouldn't you reach for me when you feel hollow?" on "Lighter Than a Berry," it's a haunting reminder that the cracks in a relationship can't always be repaired. Given
's pedigree and the potential they showed on
, it's not exactly surprising how good
is, but its mix of down-to-earth rock and artful sonics is still a somewhat unexpected delight. ~ Heather Phares
's
Kelley Deal
and
Mike Montgomery
started work on their second album just before the COVID-19 global pandemic hit, then refined it while they worked on other projects during quarantines and lockdowns (
Deal
toured with
Protomartyr
;
Montgomery
recorded other bands at his Candyland studio). This hurry-up-and-wait creative process gives them the best of both worlds on
War Poems, We Rested
: The duo holds onto
Ignite the Rest
's fun and spontaneity and expands on its blend of indie, post-rock, and Americana with confidence and creativity. Just how much
expanded their dynamic and dramatic range is immediately apparent on
's bookends. Vibraphonist
Joe Suer
gives the indie noir of opening track "Still Life" an extra dash of intrigue as
sighs, "All I want is a cigarette/And someone to pay the rent" with a rumpled sultriness.
sends off the album with "War Poems," which weaves
Suer
's vibes and
Lori Goldston
's cello into a homey version of post-rock that's equally cosmic and cozy. In between these songs,
find other fresh expressions of the sweetness and grit that made
so winning.
's work with
the Breeders
the Kelley Deal 6000
made her one of the architects of the fuzzy, chugging, 1990s rock that legions of 21st century bands try to recapture, but the standouts "Hug" and "Cartoon Heart/Build Me a Question" underscore that her charisma is inimitable.
Bat Fangs
/
Speed Stick
drummer
Laura King
proves she's an integral part of the project on
, whether she's filling up the room on "Stole Eye"'s quintessential heartland indie rock or crafting a slyly sexy backdrop on "Def Sup" that
embellish with low-slung synths and fractured guitars. It's easy to take these quicksilver shifts in stride thanks to
's more expressive songwriting, another area where the time they spent tinkering paid off. The poignant warmth of "Embers on a Sleepwalk" calls to mind prime
Sparklehorse
with its rickety piano melody and the creak in
's voice, and when he asks "shouldn't you reach for me when you feel hollow?" on "Lighter Than a Berry," it's a haunting reminder that the cracks in a relationship can't always be repaired. Given
's pedigree and the potential they showed on
, it's not exactly surprising how good
is, but its mix of down-to-earth rock and artful sonics is still a somewhat unexpected delight. ~ Heather Phares
R. Ring
's
Kelley Deal
and
Mike Montgomery
started work on their second album just before the COVID-19 global pandemic hit, then refined it while they worked on other projects during quarantines and lockdowns (
Deal
toured with
Protomartyr
;
Montgomery
recorded other bands at his Candyland studio). This hurry-up-and-wait creative process gives them the best of both worlds on
War Poems, We Rested
: The duo holds onto
Ignite the Rest
's fun and spontaneity and expands on its blend of indie, post-rock, and Americana with confidence and creativity. Just how much
expanded their dynamic and dramatic range is immediately apparent on
's bookends. Vibraphonist
Joe Suer
gives the indie noir of opening track "Still Life" an extra dash of intrigue as
sighs, "All I want is a cigarette/And someone to pay the rent" with a rumpled sultriness.
sends off the album with "War Poems," which weaves
Suer
's vibes and
Lori Goldston
's cello into a homey version of post-rock that's equally cosmic and cozy. In between these songs,
find other fresh expressions of the sweetness and grit that made
so winning.
's work with
the Breeders
the Kelley Deal 6000
made her one of the architects of the fuzzy, chugging, 1990s rock that legions of 21st century bands try to recapture, but the standouts "Hug" and "Cartoon Heart/Build Me a Question" underscore that her charisma is inimitable.
Bat Fangs
/
Speed Stick
drummer
Laura King
proves she's an integral part of the project on
, whether she's filling up the room on "Stole Eye"'s quintessential heartland indie rock or crafting a slyly sexy backdrop on "Def Sup" that
embellish with low-slung synths and fractured guitars. It's easy to take these quicksilver shifts in stride thanks to
's more expressive songwriting, another area where the time they spent tinkering paid off. The poignant warmth of "Embers on a Sleepwalk" calls to mind prime
Sparklehorse
with its rickety piano melody and the creak in
's voice, and when he asks "shouldn't you reach for me when you feel hollow?" on "Lighter Than a Berry," it's a haunting reminder that the cracks in a relationship can't always be repaired. Given
's pedigree and the potential they showed on
, it's not exactly surprising how good
is, but its mix of down-to-earth rock and artful sonics is still a somewhat unexpected delight. ~ Heather Phares
's
Kelley Deal
and
Mike Montgomery
started work on their second album just before the COVID-19 global pandemic hit, then refined it while they worked on other projects during quarantines and lockdowns (
Deal
toured with
Protomartyr
;
Montgomery
recorded other bands at his Candyland studio). This hurry-up-and-wait creative process gives them the best of both worlds on
War Poems, We Rested
: The duo holds onto
Ignite the Rest
's fun and spontaneity and expands on its blend of indie, post-rock, and Americana with confidence and creativity. Just how much
expanded their dynamic and dramatic range is immediately apparent on
's bookends. Vibraphonist
Joe Suer
gives the indie noir of opening track "Still Life" an extra dash of intrigue as
sighs, "All I want is a cigarette/And someone to pay the rent" with a rumpled sultriness.
sends off the album with "War Poems," which weaves
Suer
's vibes and
Lori Goldston
's cello into a homey version of post-rock that's equally cosmic and cozy. In between these songs,
find other fresh expressions of the sweetness and grit that made
so winning.
's work with
the Breeders
the Kelley Deal 6000
made her one of the architects of the fuzzy, chugging, 1990s rock that legions of 21st century bands try to recapture, but the standouts "Hug" and "Cartoon Heart/Build Me a Question" underscore that her charisma is inimitable.
Bat Fangs
/
Speed Stick
drummer
Laura King
proves she's an integral part of the project on
, whether she's filling up the room on "Stole Eye"'s quintessential heartland indie rock or crafting a slyly sexy backdrop on "Def Sup" that
embellish with low-slung synths and fractured guitars. It's easy to take these quicksilver shifts in stride thanks to
's more expressive songwriting, another area where the time they spent tinkering paid off. The poignant warmth of "Embers on a Sleepwalk" calls to mind prime
Sparklehorse
with its rickety piano melody and the creak in
's voice, and when he asks "shouldn't you reach for me when you feel hollow?" on "Lighter Than a Berry," it's a haunting reminder that the cracks in a relationship can't always be repaired. Given
's pedigree and the potential they showed on
, it's not exactly surprising how good
is, but its mix of down-to-earth rock and artful sonics is still a somewhat unexpected delight. ~ Heather Phares
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