The introductory beat to â€œEx-Girlfriend in a Comaâ€ is pretty much essential to understanding the full appeal of â€œSongs About Musicâ€. While the vocals provide a little more of the spontaneity, the instrumental blueprint is much more functional and formal. What results is something that resembles slightly Temper Temper and the shoegazer pop of the early nineties. The vocals get into slight hints of Conor Oberst, but Coltrane Motion does well in creating their own sound off of the bat. The scratchy production that was at a minimal level during â€œEx-Girlfriend in a Comaâ€ is expanded considerably during â€œTwenty-Sevenâ€. The percussion provides the base line for the sound, but the trippy, dreamy vocals provide something for individuals to really grab onto.
The â€œwoo wooâ€ of the backing vocals during the tracks act like a bridge between the instrumental and the vocal, which is a move that allows the track to succeed on all front. The instrumentation moves into more and more complex levels with â€œYou Make It Easyâ€. While the slightly scratchy sound operates as a thread that links together the majority of tracks on â€œSongs About Musicâ€, the slightly-nasal vocals really stand forth as the thing that individuals will most identify Coltrane Motion by. Each track seems to be an evolution over the past ones. For example, â€œYou Make It Easyâ€ smoothes out some of the rough edges of the mastering during â€œTwenty-Sevenâ€, and brings Coltrane Motion back to a very early nineties type of sound. What results is a more direct allusion to the Smiths than the title â€œEx-Girlfriend In A Comaâ€ would allow.
The guitars during â€œYou Make It Easyâ€ really reflect, at least to me, an appreciation for the guitar work laid down by The Cure on their seminal â€œDisintegrationâ€. The cheerleader â€“cum-fight song sound of the drums during â€œHow To Beâ€ will give listeners the idea that Coltrane Motion will try to move towards a more pop sound. The rest of this track shows that is exactly what they do, as the more hopeful vocals during the track reflect the â€œsixties pop starâ€ mention during the track. Later tracks, such as â€œCanâ€™tâ€, follow up on the same sound and add additional influences to the disc; the guitar work during the track are similar to Museâ€™s â€œMuscle Museumâ€ along with the same electronic-rock sound created by God Lives Underwater and Stabbing Westward. The disc is cohesive, coherent, and provides individuals with enough material that it will take a number of listens to fully appreciate. Coltrane Motion has evolved in the two years since we last had a chance to review them.
Top Tracks: Canâ€™t, Twenty-Seven
Coltrane Motion â€“ Songs About Music / 2007 Datawaslost / 11 Tracks / http://www.coltranemotion.com / http://www.datawaslost.net / Reviewed 17 May 2007