Somewhere, anywhere.

Album Review

Like Britain's Los Campesinos!, the Australian indie electronic outfit New Buffalo are expanding the artist roster of Canada's increasingly impressive Arts and Crafts label beyond its roots as the house organ of Toronto's Broken Social Scene and their many offshoots. But unlike the debut Los Campesinos! EP, which somewhat awkwardly marries the trademark Broken Social Scene post-rock sound to an indie pop band that has more in common musically with the likes of Art Brut, Somewhere, anywhere. is the work of a musician who has found her own voice. Sally Seltmann, who for all intents and purposes is New Buffalo, has roots in the Aussie indie pop scene of the early '90s, but Somewhere, anywhere. is a sparse and primarily electronic album of dreamy, minor-key tunes that trade in subtlety and delicacy. Seltmann plays nearly every instrument, with her piano at the base of most of the songs; at times, as on the quirky, childlike "City and Sea (Lady Nameless)," Seltmann's piano and coolly inviting vocals are almost alone, with only occasional vaporous trails of electronics shimmering across. Elsewhere, Seltmann accompanies herself with flute, accordion, and other unexpected musical accents, but throughout, her immediately appealing voice and abstract, poetic lyrics remain at the forefront. Fans of early Kate Bush, Emily Haines' solo records, and Laura Nyro's trio of classic albums will find much to appreciate here.