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Days of Delay

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Album Review

The Portland, OR-based trio of Tim Perry, Emil Snizeck, and Joe Kelly specializes in a slow, almost dreamy brand of guitar rock that sounds rustic but really isn't, and that sometimes sounds world-weary but isn't really that either, and that might occasionally fool you into thinking it's ironic, but very definitely isn't that. True, their songs tend to kind of plod along, and they tend to address fairly dire topics in their lyrics without sounding awfully concerned about them (sample couplet: "The very last thing I remember was this/Standing on the surface of a hollow abyss"). But don't be fooled into thinking that this is some kind of shoegazer Americana band. Listen to the subtle but definite swing with which they deliver "Run Rebel" and, even better, the startlingly choral vocal harmonies on "Hazardous Movements." "Love and Logic" doesn't really go anywhere either musically or lyrically ("I had to see some things/In order to understand/That there are just some things/I never ever want to see again") and one or two others are similarly lacking in substance below the surface, but overall this is an impressive debut.

Customer Reviews


Tim Perry's Portland-based collective may includes members of many of his hometown's best indie bands—guitarist Dan Wilson and drummer Jake Morris are play in the Joggers, pianist Jay Clarke plays with the Standard and Delorean, and guitarist Emil Amos, who is no longer in the group but plays on this LP, is in both Grails and Holy Sons—but its music unlike all of theirs. On Pseudosix's winningly original sophomore effort, the band blends their local scene's scruffy, DIY vibe with the complex harmonies of the best vintage '60s pop for an effect that's akin to well-sung Built To Spill covers of Zombies songs. Tracks like "Apathy And Excess" weave dense vocal harmonies over aching orchestrations of strings, pianos and shimmering guitars, taking the lessons learned from the lush folk-rock of Rubber Soul and applying them to darkly depressive songs too obviously bruised for Lennon and McCartney's mop-top phase. Even the jauntiest tunes on this self-titled release ("Waisting Taking Up Space" or "Enclave," for example) have dark undertones or some minor-key danger lurking under their richly detailed surface. As the record goes on, the smooth brushstrokes and painstaking sweetness of the compositions dissipates and the band's highly literate yet shaggy slackerdom comes to the fore. Tracks like "Fire Vs. Flame" and "A Million Shards" close the album by proving that the band owes as much to Pavement as they do the Beatles. It is, in fact, that exact mix of underlying cynicism and overt loveliness that makes this record so breathtaking.


Formed: 2001 in Portland, OR

Genre: Rock

Years Active: '00s

A baroque chamber pop band pitched somewhere between the elegant tweeness of Belle & Sebastian and the rustic neo-psychedelia of Mercury Rev, Pseudosix makes a virtue of variety. So much so, in fact, that that's only a description of their second album, their debut being considerably sparser and noisier. The sole constant of Pseudosix is singer, songwriter, and multi-instrumentalist Tim Perry, the band's only permanent member. Perry formed the band as a solo project in 2001, at first performing solo...
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Days of Delay, Pseudosix
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