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Old 08-02-2006, 09:14 PM   #31
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I haven't heard Frengers yet, just Half the World is Watching Me and A Triumph for Man, which make up most of Frengers, I beleive. I like Kites much more though. It's really different from the earlier stuff, so you might want to hear a song or two before getting it.
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Old 08-02-2006, 09:16 PM   #32
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Cool, I'll have to look into it. Does their label or band site have any free downloads or streams?
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Old 08-02-2006, 09:20 PM   #33
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Mewsite.com has a few samples.

And here's a preview of the whole album:

http://www.sonymusic.com/artists/Mew/
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Old 08-05-2006, 10:34 PM   #34
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Just bought Glasshanded Kites tonight

Any Lush fans out there? The first few songs bring back Lush memories!
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Old 08-06-2006, 06:48 AM   #35
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Quote:
Originally posted by zoney!
Just bought Glasshanded Kites tonight
It's great, isn't it?
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Old 08-08-2006, 11:31 PM   #36
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Quote:
Originally posted by zoney!
Just bought Glasshanded Kites tonight

And I did tonight.

After reading this impression on the allmusic review for the album, I had to get it:
Fans of OK Computer-era Radiohead, My Bloody Valentine, and Disintegration-era Cure will find And the Glass Handed Kites one of the most breathtaking things to come along since the dawn of the dream pop/post-punk genres themselves.


Hopefully that holds true.
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Old 08-09-2006, 05:12 PM   #37
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knowing that you are a Ride fan, I would expect you to be familiar with Lush. I get a Lush vibe from Mew!
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Old 08-09-2006, 06:02 PM   #38
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Are they real ladykillers, Zonemeister?


By the way, no one wants to hear about your "vibes". Pervo.

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Old 08-14-2006, 03:28 AM   #39
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From Pitchfork Media:

Mew
And the Glass-Handed Kites
[Sony; 2006]
Rating: 8.4




This rock band, Mew: They might not be “cool.” I mean, they’re Danish, and they’re pretty, and they wear natty blazers and scarves, and they play great music, all of which is pretty cool. But if you see them perform, there will come a point when Bo Madsen is playing metal-style power chords, while the long-haired 1970s-prog keyboard player unleashes his “epic” wash settings, and singer Jonas Bjerre soars up into his sappiest, most atmospheric register, and you’ll notice that they’re good with hair gel and look like soap stars, and it’ll all come clear. These guys are not “cool”-- these guys are like Queensryche. Queensryche meets Sigur Rós, but still.

And maybe that’s the pinnacle of style in Denmark (what do I know), but over here it’s uncool, and that uncoolness is part of what makes And the Glass-Handed Kites, now released in the U.S., one of the better rock records of the year. The band’s reference points are normal enough in the indie world-- Radiohead, My Bloody Valentine-- but the ambitions they draw out of them are not: These are some of the only guys around who still believe in hard-rock Valhalla, the kind of lavish, stratospheric, fairy-tale prog that’s less about making aging boys geek out and more about making young girls swoon. Who else does this-- would Stars ever rock out like this? Even a grandiose pop band like Coldplay wants to act down-to-earth, and here are these guys with their dreamy thunderstorm pop.

The payoff, of course, is that they really are nearly as magnificent as they’re hoping to be. For one thing, they’re not actually throwbacks, and their rock is cutting-edge elegant: Madsen’s rhythm guitar scratches through odd chord voicings like Radiohead, his lead lines match the dreamy buzz of any shoegazer act, and the keyboard and piano lead both through epic builds and breakdowns with only the slightest winks at “cheesy”; on first listen, they sound more like a better-funded Swirlies than a laser-light show. These grand songs-- the whole record is technically one continuous piece, but whatever-- are complicated in a way that’s theirs: Bjerre’s doe-eyed vocal melodies come in strange, lilting figures, and the band switches through tricky half-measures, endless changeups, and sly, slick rhythms to wrap around them.

This stuff might even be considered “difficult,” if it didn’t always come back to the starry-eyed soaring. Like “The Zookeeper’s Boy”, which acts like it might be a great knotty rock song for approximately 30 muscular seconds. Then the keyboards start sparkling, and then Bjerre teases you with the most unapologetically glorious chorus here-- a heart-clutching, soaring-through-clouds, upper-register plaint: “Are you/ My lady, are you.” All 53 minutes are packed full of ideas like that, often to the point of over-egging things: oceanic dream-pop on “Chinaberry Tree”, interstellar hard rock on “Apocalypso” (seriously: how prog is that?), or geologically huge melodies on “Saviours of Jazz Ballet” (which sounds like Yes album covers look). They have song titles like “The Seething Rain Weeps for You” and lyrics about girls with “meringue-colored hair.”

It’s a terrific accomplishment, and it’s tempting to imagine one reason why-- that these guys are playing not out of fashion, but out of pure belief. What’s stranger is to imagine how this fashion-bucking record could pull fans from so many different classes of listener: arty cloud-buster for Coldplay fans, sensitive hard-rock opus for Guitar Center techies and Dream Theater devotees, a masterpiece for people who haven’t smoked weed yet but are thinking about it, Bambi-faced European dreamers to match the unicorn poster on the wall. For our readers-- at a time when indie rock is enamored of scratchy post-punk minimalism, and even a grand-ambition pop act like Bloc Party pretends to be bristly-- this could be the escape of the year, a curve off into the lush, ambitious stargazing that used to happen all the time. No matter which direction listeners come from on this one, they’ll find the same thing: If you’re up for that fairy-tale rock glory, these guys have it down.

-Nitsuh Abebe, August 08, 2006

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Old 08-14-2006, 06:47 AM   #40
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Quote:
Originally posted by Copy
From Pitchfork Media:
[...]
interstellar hard rock on “Apocalypso” (seriously: how prog is that?)
Now, I like Mew, especially Apocalypso/Special/The Zookeeper's Boy, so this isn't meant to be any sort of bash, but despite their ability to name-drop Dream Theater, Pitchfork clearly doesn't have a damn clue what 'prog' means because Mew is only a tad prog at best. Bloody hell, a verbal interview with Mike Portnoy without a single note issuing forth from any instrument is more prog than Apocalypso.
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Old 08-14-2006, 01:26 PM   #41
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Quote:
Originally posted by Axver


Now, I like Mew, especially Apocalypso/Special/The Zookeeper's Boy, so this isn't meant to be any sort of bash, but despite their ability to name-drop Dream Theater, Pitchfork clearly doesn't have a damn clue what 'prog' means because Mew is only a tad prog at best. Bloody hell, a verbal interview with Mike Portnoy without a single note issuing forth from any instrument is more prog than Apocalypso.
I say this only because you bring it up and also because there are a number of prog fans at another forum I visit who also get bent out of shape about things like this........I think most prog fans don't realize that prog rock has a VERY BAD image in a lot of music circles. Usually Dream Theater is named, because they're the band most often linked with this image (whether that's a good or bad thing). As you said, if someone is even just "a tad prog", that can be a major turn off for a lot of people, hence why many reviews and publications will make a big deal out of the fact that they have prog tendencies (as this is as "proggy" as many people want to get, even though most prog fans wouldn't even consider it prog).

This kind of thing happens quite often. It's the bands that kind of bridge the gap between one genre and another that unfortunately always get linked to the genre they're least like just because it's the only reference point into that genre that the uninformed/casual fan knows (ex: Mew being called prog, Broken Social Scene being called post-rock, Gnarls Barkley being called hip hop or rap, The Postal Service being called glitch or IDM, etc, etc, etc).
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Old 09-25-2006, 12:56 AM   #42
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Just saw these guys the other night opening for Kasabian. I was lucky enough to meet and hang out with a girl who's a huge fan of the band and she's been giving me a primer.

I'm absolutely loving "And the Glass Handed Kites" right now

Some great headphones listening
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Old 09-25-2006, 11:24 AM   #43
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This album rocks.

My fave of 2006... along with Tapes n' Tapes "The Loon"...

wish I could see either of them in Montreal/Ottawa/Toronto...
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Old 09-25-2006, 01:30 PM   #44
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Sounds good. His voice bothers me a little though.
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Old 09-25-2006, 02:41 PM   #45
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Quote:
Originally posted by Harry Vest
There are two versions of the song "Comforting Sounds" - one is far supieror to the other. The best version has a theremin (is that how you spell it???) that starts at about the 5 minute mark - it's a 9 minute epic!!!
Once again - this Mew song is a brilliant epic!!!
Seriously!!!!!!!
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