Product Description First new material in four years. Lyrically, these ten songs address the interlocked themes of lost time, frustrated desire and the need for others. Although musically these may be the group's most varied songs - for a band that made innovative use of three guitars, almost half the songs here are built around the piano - it's the sequence of these tracks that bring together the story they lyrics tell.
M**E
Broader reach, core intact
Slicker? Brighter? Not to these ears. The self-title album is a stretch for fans expecting a straight-line progression from the two preceding New Year albums, or indeed the Bedhead catalogue. Instead the Kadanes add prominent piano and other instrumentation to the tracks on this album, and at first listen it sounds like a departure from their usual work. Over time, as your prejudices fade, these songs reveal themselves as some of the best examples of those things we love about TNY and Bedhead: dense, twining instrumental lines; biting, ringing guitars; driving, measured rhythms; and wry, deadpan observation of daily life. The best New Year yet, and equal to the very best of Bedhead's stellar output. Buy without hesitation, but put the time in to listen.
Z**O
Another great one
It's strange that certain kinds of music always do it for you. I found the New Year when I did a Google search for Bedhead - years after last hearing Bedhead.I thought that The End is Near was great and was pleasantly surprised that this one is too. I won't say that anything about it is surprising - it's got the quiet songs, the thoughtful lyrics, and the couple of rockers that you will play over and over. The production is well done.Overall a very solid album.
J**Y
Consistency, as expected, every four years or so!
As a fan of Bedhead and the first two CDs from The New Year, I found their newest, self-titled one equal to the quality the Brothers Kadane and crew have shown over the past decade and the one before that. It's steady, reminding me of Pavement's more reflective moments, and with a bit of the post-rock ambiance combined with a Velvet Underground type of "afterhours" vibe.So, while "Folios" opens this record-- as brief as their others, just over half an hour-- rousingly, it's more typical for these songs to remain understated. The vocals can be a bit plain in tone and they may grate a few listeners unaccustomed to this style, but fans of Stephen Malkmus, Lou Reed, or the Feelies should have no problem getting used to the quavering approach. "The Door Opens," in fact, points towards the New Jersey New Wave sound with a jerkier, more jittery delivery than one has come to expect from the Austin, Texas-based ensemble.There's one song, "The Company I Can Get," that for me hits a slightly off-key note. Not in music, but the lyrical inclusion of the only possible acquaintance for the singer being a "redneck" does hint of condescension as well as irony. I guess it's a Texas alt-rock thing. It's not a bad song, but the attempt at mockery of others or more likely self-mockery comes off too flat.To sum up, it's an album in line with its predecessors. The increasing amount of piano-based ballads go by as quickly as the snappier tunes, and while I favor the latter's propulsion more than the former's reticence, there's a connected air of maturity on most tracks that leaves you aware of time passing and reflective moments. For a band that takes about as long between albums these days as the space between an Olympics or a new presidential term, that's fitting.
A**E
Phoning it in
As always, I guess it helps to know a little bit about the subjects in question while listening/ viewing/ reading the art being placed thereon display, and I know that the members of this group happen to live scattered about at least one country. So it's not necessarily fair to compare this album to, say, the first Bedhead LP, although there are some pretty great moments on this self titled record. The first one being "The Company I can Get", which may actually be one of the better Kadane songs that I have heard. Another one is "The Idea of You", which seems particularly well thought out. The flip side to these complimentary moments are songs which might be strong showings for other groups but seem rushed in this company. "X Off Days" is one of those songs where they up the tempo, and it just seems awkward, as these moments often do when these song writers try and do this type of thing. There's less emphasis on the every-note-counts-factor, which is what, I think, most people appreciated about Bedhead. So at times on this record it seems like they are phoning it in. But what can you do? Careers, distance, life, etc. It gets in the way, imaginably.
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