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Everybody

The Sea and Cake

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Reseña de álbum

You could call the Sea and Cake classic underachievers, since they unerringly turn out the same album nearly every time (or simply apply shadings yet more subtle with every subsequent release), but two qualities get in the way of that diagnosis. First, the four members have so many outside interests — solo albums, production work, other bands, photography, comic books, etc. — that they could never be called lazy. Second, the Sea and Cake have continued making records that possess an exquisite beauty, a quality their fans would never want to give up for the sake of experimentalism. All this is to say that the band has produced another gorgeous album, just like the ones that preceded it, despite the early press reports that Everybody would be a straight-ahead rock album with few overdubs. (That is quite true, but it doesn't change the sound a bit.) Sam Prekop and Archer Prewitt indulge in the type of dual-guitar interplay that recalls Television more than anyone else, but the Sea and Cake's revolution was always a quiet one, and it's no different here. Waves of guitar — fuzzy, washed, or jagged but always impeccably lean — power the best songs: the opening "Up on Crutches," "Crossing Line," and, near the end, "Left On," where John McEntire's lively percussion serves to focus several minutes of clever guitar feedback and distortion.

Reseñas de clientes

Very nice indeed!

Just listening now to the first SAC album in four years--very nice! John McEntire has gone back to a real drum kit and the sound is great. The Amazon review talked about a more stripped-down sound, and that is a good way to put it. You can hear the instrumentation from each player--Prewitt's guitar is clear and up-front, while Sam Prekop's voice is more present and immediate. This is a great album by a great band! I highly recommend this album to anybody and everybody who enjoys that cool Chicago sound.

Less than Stellar

Upon an initial listen of Everybody many The Sea and Cake fans may feel underwhelmed. For Prekop and crew, a band known for consistently trying new directions (both musically and with other non-musical side projects) don't really tread any new waters with this release. It's only upon subsequent listens that their intent comes to fruition. Everybody isn't about reinvention or the progression of a craft, the way The Fawn or One Bedroom, to a lesser extent, did with electronics and production experimentation. Or, how earlier albums (The Sea and Cake, The Biz) portrayed a restrained angst and urgency while still seeming refined. Instead, this album is about close review and refinement of the good and not so good (TSAC will never be "bad") of a career. With Everybody the aforementioned electronic and production experimentation is at a minimum. For two reasons really 1) TSAC wanted to make a strait-forward "Rock" album with few overdubs and 2) the (electronic) approach has not gone over well with some fans. What they have done well with their career is to build a beautifully mellow and melodic brand of blissful, Jazz-influenced Rock that is unparalleled. That essence is what this album captures. Everybody's interplay between guitars, keys, and the rhythm section's, sneakily subtle yet powerful arrangements are refreshing as always. The second time lightning comes around, with the deceptively simple, one word chorus "everybody", and Sam Prekop's trademark whisper-like vocals, these concepts will be reiterated and the album will take hold. It might be maturation. Or the fact that The Sea and Cake members have families and countless other side projects, or the fact that they just know what they do best. But, the culmination of these is what makes Everybody a little less than a stellar album that doesn't push the talent of these undoubtedly talented musicians enough. It is; however, enough to keep most Sea and Cake fans happy for a while. Just don't take four years next time!

Their best since their first!

EVERYBODY is, suitably, perhaps the most accessible Sea and Cake record since their eponymous debut. It's inclusive experimental alt-rock, you might say. I challenge anyone to find a record in recent years that has a better first five tracks. "Up on Crutches" establishes (or re-establishes, for the initiated) the signature S&C sound, before "Too Strong" launches into something more propulsive and, at the same time, sprawling -- reminiscent of the early gem "Showboat Angel." The song cycle builds all the way to "Coconut," whose painterly lyrics are almost accessible enough for Seventies FM radio, like an early Eagles track from a lost weekend, remixed by Tortoise. There's so much to be seduced by...the airy production, the drenched percussion, the wispy vocals, and the spiderwebbed guitar lines, scooped together into songs that are memorable, melodious, still surprising on a tenth listen. Highly, highly recommended.

Biografía

Fecha de formación: Chicago, IL, 1993

Género: Alternativa

Años de actividad: '90s, '00s, '10s

The Sea and Cake are a post-rock supergroup of sorts, comprised of luminaries from the Chicago independent scene. The band is led by singer/guitarist Sam Prekop, who, along with bassist Eric Claridge, was an alumnus of the frequently brilliant Shrimp Boat. After that group's dissolution, Prekop and Claridge were offered the opportunity to embark on a new project and hastily recruited ex-Coctails guitarist Archer Prewitt and Tortoise drummer John McEntire before entering the studio. Originally intended...
Biografía completa

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