Tapes 'n Tapes

The Loon

Hmmmmm. Where to start with this band? So much has already been written and discussed about this band that it seems silly to add to the lines and lines already published. This is because Tapes n Tapes can claim to be the band of the internet. Much like Clap Your Hand Say Yeah and the Arctic Monkeys, the internet has provided this band from Minnesota the boost necessary to fill concert venues and get their songs heard. Whether this was by default or design remains to be seen and in many respects it is almost irrelevant. The band are where they are today because they make spanking good indie music, not because someone may or may not have attempted to place them.

In 2005, much was made of the influences that Tapes n Tapes apparently bear on their chest - Pavement, Wire and even the Beach Boys were mentioned by bloggers and reviewers. Yet having now digested the Loon for over a week now, I still can't hear it. All I hear is exceptional music which to my ears sounds inspirational and original. If I were to pin some bands on them then the Pixies mixed with the Futureheads or Franz Ferdinand would probably be more appropriate. In many respects Tapes n Tapes could be viewed as a more ‘intellectual' take on Franz Ferdinand's poppy post-punk music. But even then I'd be kidding you, it sounds like little else out there.

The Tapes n Tapes approach seems to repeat guitar riffs and drum beats yet it is almost always done in an imperfect and inconsistent manner which merely adds to the charm and allows for enthusiastic repeat listening - electronic dance music this is most certainly not. The vocals also carry this characteristic. Many of the lines are repeated and delivered slightly differently each time. Often they build into crescendos that one just wants to come tumbling down in a cacophony of noise. Perhaps the most important element to the lyrics is the humour displayed - a disconcerting humour that if you were not sure where it was coming from may leave you a little worried.

Highlights include the infectious first track, ‘Just Drums' which does a pretty good job of immediately pulling the listener into the music. The guitar riff is addictive and the lyrics are almost inaudible, masked by the lo-fi recording and loud music. One immediately is straining to hear what the band are offering and before one realises what's happened the song is over. And, by the way, the track is more than just drums, although it does have an extensive drum solo towards the end. ‘Insistor' is the first choice for single and it's easy to understand why. The lyrics are more accessible and the guitar riff echoes and sounds like a Mexican guitar lost in a cave. The song builds and builds until one feels like screaming the lyrics out. Still not entirely sure what these lyrics mean, but they may well represent the best ‘non-lyrics' ever. As with many of the other songs on display, mood and feelings are primarily delivered through the music and not through the lyrics.

‘Crazy Eights' is the hardest rocking track on the album. Its guitar riff is loud and recorded in such a way that it always sounds as if the speakers are having trouble carrying the sound. This song sounds as if they applied the White Stripes recording technique and it works a treat. ‘Manitoba' is the more restrained track on the album, yet it still manages to leave the listener demanding more. The one unifying theme throughout this album is the fact that the songs sound unlike any other indie music. At the same time the songs on the album are themselves as different as can be. This creates a musically diverse album which will take much longer for the listener to become tired of.

After much hyperbole The Loon has at last made it to European shores. This is a band that is here to stay. Their tunes are as original and addictive as I've heard in a long time. I know that it is probably too early to be making these kinds of claims but the Loon is surely is one of the releases of 2006. One thing that is for sure is that It will be one of the most original mainstream releases of 2006.

James Ketchell

Write a comment

Required fields are marked with *.