Customer Reviews

Self Help Serenade

5 star:		(15)
4 star:		(1)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

If Mercury Rev had a more intimate sound, and had a more melodious lead singer, they might sound something like Marjorie Fair. And this is only their debut. One can only imagine how beautiful their music will be in ten years' time.

The Los Angeles quartet creates a dazzling first impression in "Self Help Serenade," a polished indie pop album that combines slow, eerie melodies with panoramic sound. Like a strange dream full of stars and rainy spring forests, this album sticks to your mind even when you wake up... I mean, when it's over. Why did this languish in limbo for three years?

Faint sound effects and a guitar melody kick off "Don't Believe," a dreamy pop song that starts the album off on a dark note. "Don't believe a word they say/they're only there to take you away... don't believe a word they say/they're only trying to scare you away..." Evan Slamka sings in the opener, sounding like a cynical, sad young boy.

Things don't get much more cheerful as the album goes on, using the same kind of epic pop sound that Mercury Rev and the Doves made famous. But in addition to that, Marjorie Fair dips into catchier art-pop, murky ballads, and acoustic laments that are colored by ghostly keyboard.

The songwriting is even more tragic, with Slamka singing, "They found her in a plastic veil/with blood stained boots and glass in her hair." But it ends on a startlingly mellow note, with Slamka resigning himself to his girlfriend leaving. He sounds peaceful as he sings, "My sun is setting over her magic/equal parts caring and tragic/I'll be burning for awhile..."

Marjorie Fair is not just a talented bands. It's also one of the few bands where the musical influences aren't worn on its sleeve -- there are hints of the Beatles, the Beach Boys, the Flaming Lips, and others woven into these songs. But they aren't blatant hints, nor does "Self Help Serenade" ever harken back to other musical eras.

Nor does it succumb to trends, like stripped-down garage-rock. Its fours members manage to create unusually lush sounds. Usually the combined sound is uniformly smooth and sweet, but for example, "Halfway House" has a rich, gritty solo by bassist Scott Lord. "Waves" lets drummer Mike Delisa get to shine. Dain Luscombe' panoramic keyboard is a ruling influence in almost every song. Slamka plays guitar as well, adding a grounding acoustic note to the swirling music. He also sings each song, lending extra poignancy to the already sad songs. This guy has a beautiful voice, and he smears it all over the dismal words ("staring at junkies and cracks in the wall")

Originally recorded in 2002, "Self Help Serenade" was an album definitely worth waiting for. As smooth, rich and eerie as a dream, this may well be a future hit in the world of indie rock.

This album sort of grew on me as I listened to it in my car. The strongest songs in my opinion are "Stare," "Waves," and "Empty Room," but the other songs are pretty good too. Clearly the lyrics are very introspective, and are socially relevant without being obnoxiously preachy. There's a sort of sadness and ennui that comes through most of the songs lyrically, but also an element of upbeat and sunny disposition where the musical influences of the Beatles and the Beach Boys poke through the music. This combination of happiness and sadness in the same song, at the same time, is pretty unique, and is certainly a credit to the lead singer/songwriter, Evan Slamka.

If Mercury Rev had a more intimate sound, and had a more melodious lead singer, they might sound something like Marjorie Fair. And this is only their debut. One can only imagine how beautiful their music will be in ten years' time.

The Los Angeles quartet creates a dazzling first impression in "Self Help Serenade," a polished indie pop album that combines slow, eerie melodies with panoramic sound. Like a strange dream full of stars and rainy spring forests, this album sticks to your mind even when you wake up... I mean, when it's over. Why did this languish in limbo for three years?

Faint sound effects and a guitar melody kick off "Don't Believe," a dreamy pop song that starts the album off on a dark note. "Don't believe a word they say/they're only there to take you away... don't believe a word they say/they're only trying to scare you away..." Evan Slamka sings in the opener, sounding like a cynical, sad young boy.

Things don't get much more cheerful as the album goes on, using the same kind of epic pop sound that Mercury Rev and the Doves made famous. But in addition to that, Marjorie Fair dips into catchier art-pop, murky ballads, and acoustic laments that are colored by ghostly keyboard.

The songwriting is even more tragic, with Slamka singing, "They found her in a plastic veil/with blood stained boots and glass in her hair." But it ends on a startlingly mellow note, with Slamka resigning himself to his girlfriend leaving. He sounds peaceful as he sings, "My sun is setting over her magic/equal parts caring and tragic/I'll be burning for awhile..."

Marjorie Fair is not just a talented bands. It's also one of the few bands where the musical influences aren't worn on its sleeve -- there are hints of the Beatles, the Beach Boys, the Flaming Lips, and others woven into these songs. But they aren't blatant hints, nor does "Self Help Serenade" ever harken back to other musical eras.

Nor does it succumb to trends, like stripped-down garage-rock. Its fours members manage to create unusually lush sounds. Usually the combined sound is uniformly smooth and sweet, but for example, "Halfway House" has a rich, gritty solo by bassist Scott Lord. "Waves" lets drummer Mike Delisa get to shine. Dain Luscombe' panoramic keyboard is a ruling influence in almost every song. Slamka plays guitar as well, adding a grounding acoustic note to the swirling music. He also sings each song, lending extra poignancy to the already sad songs. This guy has a beautiful voice, and he smears it all over the dismal words ("staring at junkies and cracks in the wall")

Originally recorded in 2002, "Self Help Serenade" was an album definitely worth waiting for. As smooth, rich and eerie as a dream, this may well be a future hit in the world of indie rock.

If Mercury Rev had a more intimate sound, and had a more melodious lead singer, they might sound something like Marjorie Fair. And this is only their debut. One can only imagine how beautiful their music will be in ten years' time.

The Los Angeles quartet creates a dazzling first impression in "Self Help Serenade," a polished indie pop album that combines slow, eerie melodies with panoramic sound. Like a strange dream full of stars and rainy spring forests, this album sticks to your mind even when you wake up... I mean, when it's over. Why did this languish in limbo for three years?

Faint sound effects and a guitar melody kick off "Don't Believe," a dreamy pop song that starts the album off on a dark note. "Don't believe a word they say/they're only there to take you away... don't believe a word they say/they're only trying to scare you away..." Evan Slamka sings in the opener, sounding like a cynical, sad young boy.

Things don't get much more cheerful as the album goes on, using the same kind of epic pop sound that Mercury Rev and the Doves made famous. But in addition to that, Marjorie Fair dips into catchier art-pop, murky ballads, and acoustic laments that are colored by ghostly keyboard.

The songwriting is even more tragic, with Slamka singing, "They found her in a plastic veil/with blood stained boots and glass in her hair." But it ends on a startlingly mellow note, with Slamka resigning himself to his girlfriend leaving. He sounds peaceful as he sings, "My sun is setting over her magic/equal parts caring and tragic/I'll be burning for awhile..."

Marjorie Fair is not just a talented bands. It's also one of the few bands where the musical influences aren't worn on its sleeve -- there are hints of the Beatles, the Beach Boys, the Flaming Lips, and others woven into these songs. But they aren't blatant hints, nor does "Self Help Serenade" ever harken back to other musical eras.

Nor does it succumb to trends, like stripped-down garage-rock. Its fours members manage to create unusually lush sounds. Usually the combined sound is uniformly smooth and sweet, but for example, "Halfway House" has a rich, gritty solo by bassist Scott Lord. "Waves" lets drummer Mike Delisa get to shine. Dain Luscombe' panoramic keyboard is a ruling influence in almost every song. Slamka plays guitar as well, adding a grounding acoustic note to the swirling music. He also sings each song, lending extra poignancy to the already sad songs. This guy has a beautiful voice, and he smears it all over the dismal words ("staring at junkies and cracks in the wall")

Originally recorded in 2002, "Self Help Serenade" was an album definitely worth waiting for. As smooth, rich and eerie as a dream, this may well be a future hit in the world of indie rock.

If Mercury Rev had a more intimate sound, and had a more melodious lead singer, they might sound something like Marjorie Fair. And this is only their debut. One can only imagine how beautiful their music will be in ten years' time.

The Los Angeles quartet creates a dazzling first impression in "Self Help Serenade," a polished indie pop album that combines slow, eerie melodies with panoramic sound. Like a strange dream full of stars and rainy spring forests, this album sticks to your mind even when you wake up... I mean, when it's over. Why did this languish in limbo for three years?

Faint sound effects and a guitar melody kick off "Don't Believe," a dreamy pop song that starts the album off on a dark note. "Don't believe a word they say/they're only there to take you away... don't believe a word they say/they're only trying to scare you away..." Evan Slamka sings in the opener, sounding like a cynical, sad young boy.

Things don't get much more cheerful as the album goes on, using the same kind of epic pop sound that Mercury Rev and the Doves made famous. But in addition to that, Marjorie Fair dips into catchier art-pop, murky ballads, and acoustic laments that are colored by ghostly keyboard.

The songwriting is even more tragic, with Slamka singing, "They found her in a plastic veil/with blood stained boots and glass in her hair." But it ends on a startlingly mellow note, with Slamka resigning himself to his girlfriend leaving. He sounds peaceful as he sings, "My sun is setting over her magic/equal parts caring and tragic/I'll be burning for awhile..."

Marjorie Fair is not just a talented bands. It's also one of the few bands where the musical influences aren't worn on its sleeve -- there are hints of the Beatles, the Beach Boys, the Flaming Lips, and others woven into these songs. But they aren't blatant hints, nor does "Self Help Serenade" ever harken back to other musical eras.

Nor does it succumb to trends, like stripped-down garage-rock. Its fours members manage to create unusually lush sounds. Usually the combined sound is uniformly smooth and sweet, but for example, "Halfway House" has a rich, gritty solo by bassist Scott Lord. "Waves" lets drummer Mike Delisa get to shine. Dain Luscombe' panoramic keyboard is a ruling influence in almost every song. Slamka plays guitar as well, adding a grounding acoustic note to the swirling music. He also sings each song, lending extra poignancy to the already sad songs. This guy has a beautiful voice, and he smears it all over the dismal words ("staring at junkies and cracks in the wall")

Originally recorded in 2002, "Self Help Serenade" was an album definitely worth waiting for. As smooth, rich and eerie as a dream, this may well be a future hit in the world of indie rock.

If Mercury Rev had a more intimate sound, and had a more melodious lead singer, they might sound something like Marjorie Fair. And this is only their debut. If they receive the support they deserve, one can only imagine how beautiful their music will be in ten years' time.

The Los Angeles quartet creates a dazzling first impression in "Self Help Serenade," a polished indie pop album that combines slow, eerie melodies with panoramic sound. Like a strange dream full of stars and rainy spring forests, this album sticks to your mind even when you wake up... I mean, when it's over. Why did this languish in limbo for three years?

Faint sound effects and a guitar melody kick off "Don't Believe," a dreamy pop song that starts the album off on a dark note. "Don't believe a word they say/they're only there to take you away... don't believe a word they say/they're only trying to scare you away..." Evan Slamka sings in the opener, sounding like a cynical, sad young boy.

Things don't get much more cheerful as the album goes on, using the same kind of epic pop sound that Mercury Rev and the Doves made famous. But in addition to that, Marjorie Fair dips into catchier art-pop, murky ballads, and acoustic laments that are colored by ghostly keyboard.

The songwriting is even more tragic, with Slamka singing, "They found her in a plastic veil/with blood stained boots and glass in her hair." But it ends on a startlingly mellow note, with Slamka resigning himself to his girlfriend leaving. He sounds peaceful as he sings, "My sun is setting over her magic/equal parts caring and tragic/I'll be burning for awhile..."

Marjorie Fair is not just a talented bands. It's also one of the few bands where the musical influences aren't worn on its sleeve -- there are hints of the Beatles, the Beach Boys, the Flaming Lips, and others woven into these songs. But they aren't blatant hints, nor does "Self Help Serenade" ever harken back to other musical eras.

Nor does it succumb to trends, like stripped-down garage-rock. Its fours members manage to create unusually lush sounds. Usually the combined sound is uniformly smooth and sweet, but for example, "Halfway House" has a rich, gritty solo by bassist Scott Lord. "Waves" lets drummer Mike Delisa get to shine. Dain Luscombe' panoramic keyboard is a ruling influence in almost every song. Slamka plays guitar as well, adding a grounding acoustic note to the swirling music. He also sings each song, lending extra poignancy to the already sad songs. This guy has a beautiful voice, and he smears it all over the dismal words ("staring at junkies and cracks in the wall")

Originally recorded in 2002, "Self Help Serenade" was an album definitely worth waiting for. As smooth, rich and eerie as a dream, this may well be a future hit in the world of indie rock.

For those of you not hip to the LA music scene, let me clue you in a bit... Marjorie Fair (formerly known as "Parlour" before it was discovered that some bluegrass band already had that name) stuck out as one of the few bands that knew how to develop a solid fan base, a well produced live show and formidable music catalogue all at once. In the two years that I have been following this band, I have watched and listened to these songs evolve in the live performances. Much of that evolution has been captured here. It has taken Capitol Records nearly two years to put this album out, and while us fans have been steaming about this for quite some time, it was still worth the wait... now if they'd just record the second album worth of meterial they already have, that would be great!

As GREAT as this album is, a marvel in songwriting and production, guaranteed, this sucker's going to flop...that could be the reason for it's 3-year delay...maybe Capitol/EMI knows this, and were hesitant to release it???

You can look at this band in 2 ways...classic and contemporary. If you were to answer someone's question, this band intrigues me, who would you compare them to?? From a contemporary angle, definitely in the same realm as the Flaming Lips and Mercury Rev...melodic like powerpop, indie in approach, original and twisted in it's lyrical angle, epic in production. From a classic angle, Marjorie Fair finds the odd common ground between classic powerpop like Badfinger (singer/songwriter Evan Slamka's voice, the songwriting and guitar tone so spookily evokes the late lamented Pete Ham that it's scary) and the melodic but proggy/spacey elements of 70s-era Pink Floyd!! Weird and unexpected but it works and reaps a bottomless well of musical rewards.

Sonically, this album should be looked upon as a standard in record production too...yes it sounds that good. Plus, track #3, "Empty Room", I THINK there was a video I saw...with Evan on a bicycle...one of the finest songs I've heard all year...

The album could be album of the year as well, a candidate along with the new Eels record...haunting, spacey and melodically beautiful...just amazing...highly recommended.

Easily my favorite of the 500 plus albums I collected over the year. Original, thoughtful, powerful, heartfelt, well recorded. The more I listen the more I love it (and my friends). I am more than excited about the next release!

There have been very few albums in the past five years that have captivated me from beginning to end, that move from one highlight to another, that don't lose steam two-thirds of the way through. This is one of those rare records. I was instantly taken in by the opener, "Don't Believe," and amazed by what followed. The whole album has a kind of spacey gorgeous melancholy to it, an exquisite sadness. I love Evan Slamka's singing and songwriting, and the production is outstanding. I'm not sure I've enjoyed any album that has come out since as much as this one. I hope Slamka intends to put out another record.