Snowbug

This music is about atmosphere but it is more than just aural wallpaper. Snowbug is an album, which defies classification. It's some sort of retro- futuristic easy- listening lounge music, except it's very... strange. This sonic delight is a masterpiece of modern production. Throughout the listener is caressed with the deep rich sounds of strings, marimbas, brass, and electronics while the angelic timbres of flute, banjo, nylon guitar, glockenspiel, and the beautiful vocals of Latetia Saidler of the similarly quirky Stereolab. All of this has the potential to evolve into a cloudy harmonic bisque but alas there are never two timbres occupying the same harmonic frequency at the same time resulting in a crystal clear recording with the delicate harmonics slicing their way through the lush atmospheres below while never overstepping the boundaries so effectively introduced by the production team.

Fans of the group Stereolab will find the confines of Snowbug to be warm and hospitable. The sounds are similar but while Stereolab strives for the upbeat and rhythmically diverse, the high llamas continually seek to melodically yet sedately pay homage to composers of the past. The album's first track, "Bach Ze," speaks for both the band's exacting nature and its almost quaint futuristic drive. The chorus -- "From moon to Mars the sliders slip/But now we rarely make the trip" -- rises over whispered acoustic guitar, stately strings and electronic teasers, mourning a musical and verbal image of a '60s-era studio producer poring over his mixing board. The band's backward gaze becomes a bit less explicit as it traipses along -- as the lyrics to "Harpers Romo" tell it, "Shutters come down, safety inside/Exile at home, this is more than just a place where we hide" -- but a eulogistic glance at the past is never too far from view.

"Snowbug," like all of the Llamas' work, is mostly a meditation on a small handful of closely related melodic themes. Those melodies are always stunning, though, as crafted by a band graced with the hands of musicians and the ears of producers. The songs are rich with sounds of instruments and styles ranging from French pop, Brazilian rhythms, acoustic instrumentation, wah-wah pedals, nylon guitars, and vibraphone. The Llamas are hip to the current trend in the recording industry of integrating the live studio in lieu of a reliance on studio gadgetry. The live element brightens up the recording as a whole, with an abundance of evidence on such songs as "Green Coaster" and "Cookie Bay" (the latter featuring vocals from Latetia and Mary).

Snowbug is a masterpiece of adult contemporary pop. The dreamy soundscapes coupled with the catchy melodic musings and intricate arrangements is toothsome and satisfying. The production is a tour de force. If you own a high quality audio system treat it to Snowbug. The sophisticated craftsmanship will overwhelm your musical senses and leave you humming for weeks to come.

One of the most creative pop bands going today, this has to be the Llamas finest effort yet. The album is so damned catchy I've played non-stop for the past 3 weeks. I'm sick of it, yet I can't stop listening even so!

Favorite tunes change from day to day but Janet Jingle and Green Coaster have to be the most infectious things I've heard in years. Is it possible to give a higher rating than 5 stars?

The 45 seconds of "Daltons Star" is really enough. With all of it's Baldamenti-isms, "Cotton to the Bell" could have been a more memorable theme song for Lynch's Twin Peaks. "Green Coaster" is just plain perfect pop with great ensemble playing and singing. The pure beauty and deceivably complex layers of "Cut the Dummy Loose" make it one of the prettiest and most unforgettable songs the Llamas have ever done. This is one chance you should take. It sounds damn good in the morning - and nightime too!