Initiating in a Kraftwerkian Korg vibe, The Hit Back rapidly transforms Me and the Kid into a pop cut with strong chart-folk undertones until a Tangerine Dream wavefront wells up and colors the atmosphere into a cinematic theme, then drops back into a glacial tempo change from whence the song re-erupts, Beach boys-ish, Pet Sounds era. The unit is a duo (Jesse Hanabarger and Seth Weidmann) but doesn't sound it, and the vocalist, in a display half way between Brian Wilson and Ray Davies, has one of those delivery styles that evokes a snapshot of someone who was gobsmacked somewhere along the line and only recently came to, amnesiac, reacquainting with the notion of emotions, starting to daze at the wide world around him, not sure what to make of it all but bemused, unafraid, and grinning.
Expect a welter of electronica, alternatingly cold wave and lushly majestic, with drum machine synchrony and spare compositions that keep changing their minds, everything leaping into unexpected alleys before sauntering back to the sidewalk and continuing down the lane. Afternoon, on the other hand, is a great exercise in sublimatedly ecstatic chill, whispery vocals crooning to the listener of utopian lethargy as instruments slowly progress and finally unleash a long pent surge of wonder. Then That Wave rearranges the process and goes a long way to illustrate how the new crop of musicians are actually the integration point of everything that came before, the most interesting decision being the tension and balance between folk pastorality and progrock invention. There is no clear delimitation, and that's precisely the point.
Edited by: David N. Pyles
Copyright 2011, Peterborough Folk Music Society.
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