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You're My Lover Now

5.0 out of 5 stars 8 customer reviews

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Audio CD, April 24, 2007
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Editorial Reviews

One of the best live bands from Philly ever!! Friends of Dr. Dog and every band on Park the Van.
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Product Details

  • Audio CD (April 24, 2007)
  • Number of Discs: 1
  • Label: Park The Van
  • ASIN: B000O59264
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #354,525 in Music (See Top 100 in Music)

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Format: Audio CD
Amazing album from Philidelphia's best. I believe that The Teeth have have been put on this planet to bring melody back to rock and roll. Not to pile on to the usual comparisons, but this record really can remind you of the Beatles, Bowie, Elvis Costello, and the Zombies. Don't get me wrong, it's not a throwback or a cheesy imitation. It's just a reminder of the lack of melody and pop-tunesmanship that exist in rock music today. Excellent playing, lyrics and harmonies reign all over this wonderful album. It has a classic analog sound which only adds to the warmth of the band's music. They're also an amazing live band. I was lucky enough to catch them in Buffalo about a month ago, and they absolutely blew me away. So do yourself a favor and pick up this record or go see these guys live. They really are a breath of fresh air.
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Format: Audio CD
YOU'RE MY LOVER NOW is The Teeth's RUBBER SOUL: a breakthrough album that fulfills all early promises but takes things to a higher level.

They've never sounded so good on CD, and repeated listenings only sharpen one's appreciation of the artistry of Aaron, Pete, Brian, and Jonas.

Not only are The Teeth muscial, funny, surreal, manically energetic, unabashedly intelligent, and consistently surprising but also they are masters of what The Beatles sometimes called "gimmicks"--in the same way that Beethoven and Bach used gimmicks.

Their songs mix things up; they evolve and shift shape; they start one place and end up somewhere wholly unexpected. Honky-tonk piano, hand-claps, grunts, random chatter (is it really random?), shock openings and closings, melodic lines that won't leave your head--it's all here.

For those unfamiliar with the boys, Brian Ashby is the band's Hendrix, a guitar wizard whose hands and fingers fly faster over frets than hummingbird wings. Aaron Modavis is the lyric-writing eye of the Teeth's hurricane, a gentle verbal genius whose lyrics allude to T.S. Eliot, King Crimson, The Kinks, and everything in-between. Twin Pete Modavis is the meanest bass player I've ever seen live: big thrumming fingers that George Harrison would have admired. The twins play off each other telepathically, but Brian is utterly in synch with their Apollonian madness. Watching them live, they'll suddenly soar into leaping, hopping, flapping, perfervid Dionysian frenzies that are wholly controlled. Drummer Jonas? He's a rock-steady tubthumper whose polyrhythms keep pace with all the key shifts, time-signature twistings, and vocal pyrotechnics of the other three (who have been playing together for over a decade).
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I hesitate to call this album a grower. Because honestly, there was some instantly lovable tracks on 'You're My Lover Now'. But it wasn't until repeated road trips with this album in tow that I realized what a freakin' masterwork this album is, one that truly arrived out of left field.

The first thing that will strike you is the aesthetic. It's a toughie to describe: there's a lot of punk and pub-pop influence, though The Teeth aren't afraid to throw something unexpected in each song (like the ragtime pianos in the opening track) that really just work astonishingly every time. It's a fantastic sound that's eclectic but fits against each other well. The second thing to notice is the album experience: a whopping 15 tracks, none clocking in beyond 3:10. Songs range from barnburning ('Your feeling on Life') to doleful ('Rabbit Run'). The moods flow nicely across each other, but the songs can stand on their own two feet as well: 'Molly Make Him Pay' and 'Ball of the Dead Rat' will occasionally leave me itching to put them on repeat.

One of my favorite aspects of this LP, though, might require more focused listening. The lyrics on display in 'You're My Lover Now' are pitch-perfect. It reads like 'Diary of a self-loathing popular kid': getting drunk at a family wedding, getting laid at a house party: at any given moment in this narrative you can imagine a 19-year old with a beer in one hand and a cigarette in the other, but this is in no way lifestyle porn, as nods are given to the seedy underbelly of the whole thing: getting arrested, girlfriends with bulimia, and endless streams of beer tears. It's a rare and reflective tack that offers an overwhelming relief from the entirety of American music, which seems to exist just to glamorize booze, sex, and partying.
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Format: Audio CD
I was a big fan of the strange harmonies and tempo shifts which were demonstrated through The Teeth's previous effort "Carry the Wood". It seemed something wholly unique; a scary isolated vision painted in day-glo colors.

So, when I put in "You're My Lover Now" for the first time, I was pretty surprised. It seemed an aggressive mix of The Beatles, The Kinks, David Bowie, and even a bit of punk attitude a la Richard Hell or The Lovely Feathers. The songs hit fast, lacking meandering vocals or slow setups. I wondered what happened to the danger of the previous E.P. Did The Teeth go pure pop?

After a few listens the songs sunk in and, rather than float like so many other puffy pop clouds, the album gained its weight. The songwritting is brilliant, almost always turning from descriptions of beauty and fun to absolute misery. The Teeth constructed a very devious full length, one that is sweet to listen to and trips the viewer with difficult situations.

While there are many colorful indie-pop-rock bands today, The Teeth bring a layer of depth that I haven't seen since the likes of "The Kinks", "Bowie", or "The Beatles". If you're frustrated by the dada of groups like "Apples in Stereo", this is a must-own to instill some faith in contemporary pop melodies. It's also more of an energetic romp than "Menomena" or "Black Moth Super Rainbow".
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