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Wagner's distinctive voice is a constant (as are his lyrics, which range joyously from the sentimental to the sarcastic) but the background sounds are a constantly shifting tapestry, all rich strings and insouciant strums one minute, brooding melodies and sinister moods the next. If there's any band out there that seem to live for their work it's Lambchop. And while they don't necessarily get better with every album, they do retain a certain freshness and sense of innovation, traits that many of their peers could do with adopting. --Paul Sullivan
Review The band, again, seem to have shifted laterally. New guitarist William Tyler is promoted to a more prominent role (even getting a namecheck on the opening instrumental ''Being Tyler''), especially on the second disc/album. In fact, while the first disc - composed as a whole score for Murnau's 1927 silent movie, Sunrise - returns to the lusher stringscapes (courtesy of Lloyd Barry) that marked Nixon, the second tends to be stripped back to an almost punky ethic (''Nothing Adventurous Please'').
The metaphor of music as a tapestry woven of numerous thematic and aural threads is an old and hackneyed one, but that doesn't stop it being a particularly succinct way of describing these albums. Listening to Aw...is not dissimilar to standing in front of an enormous tapestry - so close in fact that you can only see the various elements that make it up and never really understand the bigger picture. But underneath all the colours and textures of country, Philly soul and new wave attitude is the rough material of Kurt Wagner's voice, muttering darkly about his life's minutiae.
Its a grainy, gruff, staccato constant that, after a few tracks, begins to remind one of Vic Reeves' club singer; it's so clipped, mannered and shorn of musicality. The Curtis Mayfield falsetto of old has gone and we're left to concentrate on what it is exactly that he's trying to tell us. Acertain lack of distinction between songs tends to make such prolonged exposure difficult at first, but Wagner's particular genius is to appear off-hand and somehow still achieve a weird kind of profundity. Whether everyone will commit to such a large slice of low-key Nashville life is another matter... --Chris Jones
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Of the two, I'd say "Aw C'mon" is the stronger album- gorgeous tunes all over the shop, my personal favourites being "Something's Going On", "I Haven't Heard A Word I've Said", "Nothing But A Blur From A Bullet Train" and the amazing "Steve McQueen". Melancholy masterpieces, each and every one.
Other highlights include the faltering lounge jazz of "Women Help To Create The Kind Of Men They Despise" and the damn funky "I Hate Candy".
"No You C'mon" is a lighter affair than the fairly bleak "Aw C'mon"- the tunes are looser on the whole, the lyrics slightly more humorous and heck- even a bit of heavily distorted guitar creeps into a song or two ("Nothing Adventurous Please" being the main example of this- it rocks hard! Track 10, "The Gusher" even cobs the riff from the Black Sabbath standard "Paranoid"!).
At the mellower end of the spectrum we get gems like "There's Still Time" and "The Problem".
It seems a lot of fuss has been made over the inclusion of instrumental material on the albums, which I can't really understand. Admittedly, some of these tunes veer a little too closely to 'elevator music' or whatever you want to call it, but on closer inspection the likes of "The Lone Official" and "Sunrise" reveal themselves as great pieces of music.
The key to enjoying these albums is to not be overwhelmed by the huge amount of material on offer- like I said, it takes a bit of time to fully appreciate everything here! Get used to one disc at a time, whatever it takes but please don't write them off as disappointing so soon- they're a pair of gems!
Don't be put off. As ever, a little effort with Lambchop will reap rich rewards. Just listen to Neihaus's sweet sweet pedal steel on Sunrise, if you think instrumentals don't work! As ever, Kurt Wagner is miles ahead of everyone, including us poor listeners, who need to Listen (!) to catch up.
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