I really can't predict if either of you would like it. Makes me wish there was some sort of technology available that allowed a person to listen to an album first without paying for it.

I really can't predict if either of you would like it. Makes me wish there was some sort of technology available that allowed a person to listen to an album first without paying for it.

That would be pretty cool. You know what would be even better though? If there were an internet based community where music fans would share their opinions about new music.

I downloaded the album but I haven't bothered to listen to it yet. I don't expect much, because the only You Am I album I like is Dress Me Slowly. I haven't listened to it in a long time though, and couldn't begin to argue its merits. I remember it came with a limited edition acoustic ep, which is my favorite thing they've ever released, mainly because no one else knows about it nor will ever hear it. I wish they were more popular on Obner so I'd know which album to summarily dismiss.

Neither brothers nor sisters, this Brooklyn duo creates rollicking, lazy-boned laments about days gone by. Once opener “The Curse” rattles to attention with rickety alternative-era guitars and youthful drum pats, the peg is as dead on as their Death By Audio ancestry. Core members of the collective that fostered a Brooklyn venue, effects pedal creations and a record-producing business, Sisters’ members are scene siblings with the likes of Jeff the Brotherhood, Grooms and A Place to Bury Strangers.

It’s funny that label Narnack refers to Sisters’ blend as “Doolittle-pop,” as over the 11 songs that occupy their debut “Ghost Fits” , Aaron Pfannebecke (guitar/vocals) and Matt Conboy (drums/keyboard) combine the contemporary sonic breath of fellow brazen duos Japandroids or No Age (“Glue” & “Sky”) but derive their most heavy of helpings from that other greatly-sourced luminary indie act, Sonic Youth.

Though wobbly, carefree and bobbing, “Ghost Fits” settles as a middling sonic reflective on each of its player’s past without much of anything wholly noteworthy or pervasively new to mention along the way. Named after the 1987 Sonic Youth album “Sister,” Pfannebecke and Conboy have successfully sourced the breakneck punk temperament into a focused sound that’s no doubt pleasing and assessable on standout tracks “Synesthesia” and “Wake Me Up,” trying in their infections, dulled honesty.

Having certainly done their homework, Sisters bring a sound’s true-to-form delivery as current competition to the already crowded arena of noisy lo-fi outfits, the problem is that the duo merely lack the secret weapon (No Age adds a to-the-
clouds drifting ambiance for example) that’s going to keep its listeners coming back to fill their seats.

...someone has recorded a contemporary Nashville record that acknowledges the personal and professional sides of the city's musical heritage, and nods to that heritage without being paralyzed by tradition. KORT's debut features reimaginings of classic country and soul songs performed by Wagner, the longtime singer-frontman for Nashville indie ensemble Lambchop, and solo artist Cortney Tidwell. A remarkably supple band studded with local indie-rock all-stars supplies the backing, which ranges from hushed to quietly jubilant.

But let's get this straight up front: Invariable Heartache does not deserve to be heard because its local-boy players work good and hard, or because Tidwell and Wagner are hometown heroes. It deserves to be heard because it's so good, so original and unexpected, that it allows old Nashville to be seen through a new lens. Instead of retro cliché or surface revivalism, there is a deep, palpable yearning in these songs, an earnestness seldom found on records this sonically sophisticated.

Mindful of the past, yet contemporary and challenging enough to be relevant today, KORT's album is the sound of country's influence emerging not as Americana or CMT fodder, but as its own new viral strain of working people's music. For it to go unheard in Nashville would be like the White Stripes sinking without a trace in cradle-of-garage-rock Detroit.

Sisters - Ghost Fits




Really liking this a lot.

The guitar on this sounds almost exactly like Japandroids but their songs don't seem as catchy.