Most Helpful Customer Reviews
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7 of 7 people found the following review helpful:
4.0 out of 5 stars
Not For Everyone, but yes, quite Good, February 29, 2004
Like their debut, "Chrome Rats vs Basement Rutz" (called "Chromatics" on this site for some reason), the new "Plaster Hounds" is an album marked by stark minimalism. From the packaging (both Black and White) to the music itself, the band seems to have a perfect concept of subtlety. Which isn't to say "Plaster Hounds" isn't at times quite abrasive. Songs like "Monarch" sport their fair share of feedback and dissonance, so this certainly isn't your ambient Eno school of minimalism. The band has evolved into a much darker sound this time out, and has branched into the utilization of drum machines on a few songs. Though there are precendents for this sound, I think it's quite fair to say the Chromatics sound unique amongst their peers (other GSL bands like The Locust and Year Future are certainly mining different territory). So far, this is my favorite record of this year, and I'd readily recommend it to anyone who appreciates the non-dancey side of Postpunk.
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6 of 6 people found the following review helpful:
4.0 out of 5 stars
Great Effort!, July 30, 2004
While every other new throwback band is busy trying to re-create Television's Marquee Moon and Gang of Four's Entertainment!, two Seattle-based post-punk-obsessed Indie lads have decided to take the road less traveled.
On Plaster Hounds, Chromatics have rid themselves of the dancey, X-Ray Spex-like anthems found on their debut album Chrome Rats vs. Basement Rutz and now feature an adrenaline-addicted sound with surreal themes--recounting the days when 70s post punks Suicide, Silver Apples and Wire ruled the dank streets of New York City.
This reinvention in sound could be due to the band's reduction from four to two members-vocalist/guitarist Adam Miller and new bassist/vocalist Nat Sahlstrom. In addition to the turbulent twosome, percussionist Ron Avila adds his lethargic beats to the rhythm section. Miller has grown as a songwriter since his days in The Vogue and Soiled Doves--a band made up of the original members of Chromatics along with Johnny Whitney, the spastic vocalist of famed Artcore band The Blood Brothers.
While none of the songs on Plaster Hounds reaches the sheer intensity of Suicide's "Frankie Teardrop" or the morose-nature of Silver Apples' "Dust," most of the ten songs continue in the same vein and are equally troublesome; and "Monarch" does come pretty close to achieving "Avant Garde Future Legend" status with its Whitehouse-esque belligerent screams and bleak, distant background rhythms. While nothing beats the original, Chromatics' cover of Silver Apples' "Program" is possibly as close to perfect as one can get without having Simeon and Dan Taylor re-record the classic song. Oddly enough, the Chromatics' version of "Program" sounds as if it were actually recorded in 1968 with more low-level hum and muddy production, unlike the original that sounds much clearer.
The extremely minimalist production of Plaster Hounds adds to its authenticity. Miller's stoic philosophical ponderings and grating, despondent guitars layered on top of natural, lo-fi discordance make it hard to believe this was recorded just a few months earlier and not over 20 years ago.
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by The Chromatics 
