Customer Reviews

Cold & Bouncy

5 star:		(6)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I've never been able to decide on my favorite High Llamas recording, (Gideon Gaye is a bit dull, Hawaii is a bit long, Cold and Bouncy is slightly choppy, and Snowbug loses its appeal upon repeated listens) but on occasion I lean toward Cold and Bouncy. Pop tunes such as "The Sun Beats Down" (the single for this CD) and "Tilting Windmills" are quite pleasant and very addictive, in my opinion. One of the nice instrumentals of the album, "Over the River" is one of the album's ambient highlights, albeit a bit kitschy. As for the ambient music that the album conveys, a lot of it runs together and almost seems like filler. For this reason, upon glancing at the back cover of the CD, I'm not certain what track title corresponds to what little bit of mellifluous delight! And maybe these delights could use some lyrics. Perhaps leadman Sean O'Hagan writes his lyrics separately from the conception of the music itself. I may have that read that at some point. If such is the case, the fact that the music is encapsulated without lyrics suggests that a more complete concept could be fulfilling. And indeed the lyrics are often nonsensical. I suppose, though, that this gripe is somewhat trivial. Ultimately, I like Cold and Bouncy very much even though it reminds me a lot of the kinds of sounds that video games emanate (perhaps that's part of the charm). The melodies and mood of the album are great, and I recommend this album as one of the best of the High Llamas to date.

This is , my friends, the most misunderstood, undervalued, misconstrued and downright underappreciated album of the 1990's. After winning widespread critical acclaim for their Gideon Gaye cd, the High Llamas saw their popularity sink a little after the release of this, their 4th, and most ambitious album to this point. Critics bemoaned the predominance of the "computerised bleeps and bloops" which frequent the recording seeing an attempt to update the band's previous reputation as blind Brian Wilson imitators. Nothing, in fact, could be further from the truth. Melodically, the music here represents Sean O'Hagan's finest work to date. Utterly tasteful, never overly clever, imbued with precision and attention to detail but still hauntingly soulful despite himself, O'Hagan proves himself to be a master of tradition and his own creative powers. Far from being a "computerised" or coldly digitally sequenced affair, Cold and Bouncy is remarkably warm and analog in sound and feeling. Listen carefully, and many of the sounds are being produced by old Vox or Farfisa organs, dusty moog monosynthesizers, wood panelled beat boxes from 30 years ago, ancient vibraphones and worn out Rhodes electric pianos. This is hardly the technology of the modern recording studio, simply an inventive and highly imaginative musician armed with some good delay boxes, an open mind and a modicum of talent. Add some beautiful string quartets, trademark horns and harmonies, and you have another step in the fascinating de-evolution of this, the most interesting avant garde pop outfit since..... well, The Beach Boys! (There, I said it damn you!). The electronic computerised effects are far from the sterile bells and whistles that adorn most modern Moby-ish electronica . Rather, these are the classic modular sounds of Gershon and Kingsley, Tom Dissevelt and Kid Baltaan. Listen carefully and Steve Reich can be heard chatting with a heavily sideburned Bob Moog while carefully calibrating a Mini moog over a kipper tie and a club sandwich,somewhere in Buffalo, NY circa March 1972. Herein lies the secret of The High Llamas continued artistic success at the expense of their ongoing critical demise. They are simply misunderstood for the main reason that they are not listened to. Their music is not flashy, loud, immediately catchy or intended to achieve any effect in particular other than to provide pleasure. There are no walls of corporate indie guitars a la Radiohead or Yo La Tengo. There are no fashionable conscripts to loud rock or psychedelia a la other so called Beach Boys lovers, ie Apples In Stereo et al. There is no preening, posing, ligging or empty gesturing. There is only the beautiful sound of.....music.

but really, what is the point of rating anything. Everyone has different tastes, no one can tell another what they should and shouldn't like. This observation is particularly appropo with regard to what I consider one of the most incredible groups I've ever heard, the High LLamas.

This group is not popular. This album, one of my absolute favorites, a masterpiece, filled with the most beautiful and sublime pop music one could ever wish to hear, the single most evocative of summer album I have ever heard, is out of stock, and not because it keeps selling out. I used to be bitter that in America the Avalanches never became the sensation they deserved to be, or that musicians like this are marginalized and their albums out of print, but I'm passed that. I only write this review for the others who love this album, to show them that I'm out there. This music is certainly appreciated. Might I suggest we all convene at some point, High LLama lovers, like minded in our romanticism, love of beauty, exploring and probing sensibilities? This is the kind of album where if you told me you loved it, I'd trust you, and we'd be friends immediately.

I picked this up blindly, only on the recommendation of a stupid website. Boy was I dumb. NO! This is some well spent dough, especially if you're into the whole electronic ambient scene but still like "real" music. The first listen had me hooked, especially "Glide Time," which can give you the mild sensation of floating on air under the right circumstances. "Three Point Scrabble" is also a gem, as are the several other tracks that are layered so deep, then come apart into individual elements before your eyes. It's reminiscent of Isaac Hayes' "Shaft" score, with Brian Wilson and the Beach Boys strumming along, then with Steely Dan wandering in on "Painter's Paint" just to keep you guessing as to what's coming next. Well, it's probably going to be Stereolab, as the influences of O'Hagen's recent collaborations with them are evident on many tracks. The entire disc is essentially one neverending track that really takes you for a ride. Buy it, I order you. It's good and I wouldn't lead you astray.

Cold and Bouncy being The High Llamas 5th studio album can be said to be a mix between electronic music and psychadelic rock. From the very beginning this album hooked me with it is unconventional sound. It sounds at times like the Twin Peaks soundtrack. In the booklet we get all the lyrics but not a list of whom plays what on each track. Instead there is a list of whom plays what on the entire album which is a bit of a letdown. 4/5.

The tracks have a 60's pop retro feel, ala BEACH BOYS, but a completely unique, updated twist. The High Llamas embellish their arrangements with weird synth. sounds, bleeps and computer type bubble effects. After listening to it a few times, you will find yourself singing along with the tunes. Some of the tracks are instrumental, yet so relaxing and refreshing. I always feel great while listening to this or any other High Llmas stuff. So check their other cd's out.

Julius-Allan

An album of azure sunsets, Cold and Bouncy's title is almost ironically undermining. These songs are not gelid at all, but balmy and blissful. And bouncy? I think gliding, coasting or soaring have slighly better connotations. But despite the peculiarly misleading title, Cold and Bouncy is overflowing with delicious pop confections. Fusing the instrumental prowess of Stereolab and Beach Boy harmonies into an aurally pleasing, diverse record is no simple task, but the Llamas pull it off with ease. My favorites of the album are The Sun Beats Down, Painters Paint, Showstop Hip Hop and Over The River. Anyone like me who is addicted to the highly orchestrated pop experience should definitely pick up a copy of Cold and Bouncy.

It's nice to know that at least a few others appreciate Cold and Bouncy as much as I do.

I picked this CD up upon hearing that these guys are essentially Stereolab. 'The Bionic Beach Boys' would be an accurate description of The High LLamas. Still they are highly original in their derivation. So if you can appreciate 'different' pick this CD up.

Hawaii, the previous Llamas'album, was much more interesting. Here, there are too much dots and lops, and less lushly strings and horns, less melopeia.