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Interbabe Concern

The Loud Family

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Album Review

Anyone who wondered where the fragmented songs and purposefully twisted aural montage went on Loud Family's second album, The Tape of Only Linda, will either be elated or annoyed to know they're back in force on the group's third full-length release, Interbabe Concern. While the edition of Loud Family that cut The Tape of Only Linda had been solidified by a solid dose of touring after the release of their first album, Interbabe Concern was cut with a new lineup in which Scott Miller handled all guitar duties and Kenny Kessel and Dawn Richardson took over on bass and drums (Paul Wieneke remained on keyboards and occasional lead vocals). This new Loud Family sounded more like Scott Miller's backing band than the group that made the first two albums, and without producer Mitch Easter on hand, Miller seems to have used Interbabe Concern as an opportunity to reacquaint himself with the cryptic side of his musical personality; there are a lot more short pseudo-tunes interspersed between the "real" songs, plenty of odd found noises and sound effects, and while Miller plays plenty of guitar here, there's a decidedly lower hard-and-heavy quotient than on the muscular The Tape of Only Linda. Interbabe Concern plays like a somewhat stranger version of Loud Family's debut, Plants and Birds and Rocks and Things, except that there are fewer memorable songs (there are memorable songs, of course, just not as many), the production has a lot less gloss, and Miller's fondness for chaos seems to outweigh his knack for perfect pop hooks. It's an inarguably interesting album, but one that demands a lot more work for the listener to ferret out the good stuff. In short, it's a lousy starting point for non-fans, and an acquired taste for the initiated.

Customer Reviews

Scott Miller's Smart, Funny, Heartbroken Masterpiece

If Don DeLillo wrote albums instead of novels, this is what they might sound like. Scott Miller takes up Mitch Easter’s chair behind the board and creates the most demanding, satisfying, fully realized work of his under heralded career. If you love the Beatles’ experimental side, Big Star, and the glorious compositions that flourished from Brian Wilson’s shattered ego, buy this album. Listen to it three times before you pass judgment (it’s a definite grower) and get your hands on the liner notes. They are the funniest ever written.

I can't believe this is on iTunes

I could write a long detailed review, and I might one day, but for now just let me say I've rarely gone a month without listening to this. Since it came out. This is perhaps the greatest album of the last 30 years. It's the only one I bothered to review. Buy it, don't even think twice, have your mind blown. Do me a favor, forget me quick when I'm gone. I shouldn't count on having air around me just because I breathe.

Raw but melodic

Scott Miller was an under-appreciated pop master, his songcraft often honed to perfection by the studio wizardry of Mitch Easter. On this record Miller assumed production duties himself, and the results are raw and visceral. The hooks are still there, though, as are Miller's clever and wildly allusive lyrics. It may take a few listens to sink in exactly what's going on amidst the squalls of distortion and noise, but it's worth the time; this album is amazing. A great find, for anyone who appreciates off-center pop and rock. RIP Scott: you were a true genius.

Biography

Formed: 1991

Genre: Alternative

Years Active: '90s, '00s

After dissolving Game Theory, Scott Miller formed Loud Family, releasing their first album, Plants and Birds and Rocks and Things, in early 1992 on Alias Records. Plants and Birds and Rocks and Things received good reviews and maintained Miller's cult following, as did the subsequent EP, 1993's Slouching Towards Liverpool. In 1994, Loud Family released their second album, The Tape of Only Linda. The group's third album, Interbabe Concern, appeared in the late summer of 1996, followed...
Full Bio
Interbabe Concern, The Loud Family
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