PALODINE
''DESOLATE SUN''
SEPTEMBER 5 2006
45:17
1. Fire In The Field /3:46
2. Sadlands /3:20
3. Sugar Water Orphan /5:02
4. Vengeance /4:38
5. Frozen /4:15
6. Devils Song /5:08
7. Devour Me /5:21
8. How To Use /5:46
9. The Maker /3:33
10. Morgantown /4:28
All Tracks By Michael Aryn, Katrina Whitney
REVIEW
by Ned Raggett
Seattle-based trio Palodine came into being with an ear for the kind of dark moodiness that other acts near and far had long appreciated would be a potent blend -- goth moodiness, high-and-lonesome twang, and a cinematic sensibility can all be powerful individually, but in concert, as groups from the Walkabouts and Mojave 3 to Faith & Disease and the Tindersticks had shown, the results can be astonishing. So if the combination Palodine bring to bear on their debut album, Desolate Son, isn't new as such, what matters is the strength of the songs and performances, and the group succeeds in spades. Vocalist Katrina Whitney has a strong, careful delivery while guitarist Michael Aryn isn't afraid to crank up the volume while avoiding stun-level riffs -- the brief but powerful solo on "Fire in the Field" helps ratchet up the tension right from the start of the album. Jason Brooks adds steady if not always uniquely remarkable drumming along with production help, and in combination the musicians aim for the darkly dramatic and nail it more times than not, as in particular revealed by the sea shanty-like "Vengeance" and the epic rise of "Devils Song," where Aryn again gets to show off just enough with some excellent work. Individual moments throughout shine -- the low-volume organ melody that starts "Sugar Water Orphan" is one that in itself turns out to be a good fake given how the song picks up into a rollicking pace by the end, while the distanced guitar suddenly set against a tense rhythm on "How to Use" makes for another dramatic start. Meanwhile, the steady backwoods stomp that opens "Frozen" alone shows that if they wanted to, Palodine could easily take a more strictly revivalist approach -- it's to their credit that they look toward broader horizons (as the breakbeat and tight funk groove later in the song readily demonstrate).
Album Notes
By CDBaby
Children of Coal Miners, Southern Preachers and Mormon Immigrants don't usually make for good rock music candidates, but in the case of Palodine they bring with them an underlying power and intensity which tests the boundaries of dark American music. Before meeting each other, guitarist Michael Aryn and singer Katrina Whitney had virtually parallel music experiences. Both had dabbled in shoegazer, gothic, experimental, folk and country projects. When they began playing together, their musical kinship became readily apparent and their influences quickly formed into their own unique sound. They met Jason Brooks only a few months later whose southern spirit and ability to play multiple instruments as well as sing harmony was exactly what was needed to complete their vision. Within a few months of forming, enough material had been written for a full-length record and they began laying down material on an archaic 8-track analogue recorder. They self-produced and mixed the record on an unheated floating barge in Seattle's Lake Union during one of the coldest weeks in the city's history. Alternating in mood from fierce to somber, Desolate Son is an edgy and provocative portrayal of violence, remorse, and final words.
DoWnLoAd
''DESOLATE SUN''
SEPTEMBER 5 2006
45:17
1. Fire In The Field /3:46
2. Sadlands /3:20
3. Sugar Water Orphan /5:02
4. Vengeance /4:38
5. Frozen /4:15
6. Devils Song /5:08
7. Devour Me /5:21
8. How To Use /5:46
9. The Maker /3:33
10. Morgantown /4:28
All Tracks By Michael Aryn, Katrina Whitney
REVIEW
by Ned Raggett
Seattle-based trio Palodine came into being with an ear for the kind of dark moodiness that other acts near and far had long appreciated would be a potent blend -- goth moodiness, high-and-lonesome twang, and a cinematic sensibility can all be powerful individually, but in concert, as groups from the Walkabouts and Mojave 3 to Faith & Disease and the Tindersticks had shown, the results can be astonishing. So if the combination Palodine bring to bear on their debut album, Desolate Son, isn't new as such, what matters is the strength of the songs and performances, and the group succeeds in spades. Vocalist Katrina Whitney has a strong, careful delivery while guitarist Michael Aryn isn't afraid to crank up the volume while avoiding stun-level riffs -- the brief but powerful solo on "Fire in the Field" helps ratchet up the tension right from the start of the album. Jason Brooks adds steady if not always uniquely remarkable drumming along with production help, and in combination the musicians aim for the darkly dramatic and nail it more times than not, as in particular revealed by the sea shanty-like "Vengeance" and the epic rise of "Devils Song," where Aryn again gets to show off just enough with some excellent work. Individual moments throughout shine -- the low-volume organ melody that starts "Sugar Water Orphan" is one that in itself turns out to be a good fake given how the song picks up into a rollicking pace by the end, while the distanced guitar suddenly set against a tense rhythm on "How to Use" makes for another dramatic start. Meanwhile, the steady backwoods stomp that opens "Frozen" alone shows that if they wanted to, Palodine could easily take a more strictly revivalist approach -- it's to their credit that they look toward broader horizons (as the breakbeat and tight funk groove later in the song readily demonstrate).
Album Notes
By CDBaby
Children of Coal Miners, Southern Preachers and Mormon Immigrants don't usually make for good rock music candidates, but in the case of Palodine they bring with them an underlying power and intensity which tests the boundaries of dark American music. Before meeting each other, guitarist Michael Aryn and singer Katrina Whitney had virtually parallel music experiences. Both had dabbled in shoegazer, gothic, experimental, folk and country projects. When they began playing together, their musical kinship became readily apparent and their influences quickly formed into their own unique sound. They met Jason Brooks only a few months later whose southern spirit and ability to play multiple instruments as well as sing harmony was exactly what was needed to complete their vision. Within a few months of forming, enough material had been written for a full-length record and they began laying down material on an archaic 8-track analogue recorder. They self-produced and mixed the record on an unheated floating barge in Seattle's Lake Union during one of the coldest weeks in the city's history. Alternating in mood from fierce to somber, Desolate Son is an edgy and provocative portrayal of violence, remorse, and final words.
DoWnLoAd
