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The fourth full-length album from Chris Cohen (formerly of Deerhoof). When you hear the charming sparse piano balladry of opener “Go Lucky”, there’s no telling how or why this album happened to end up sounding like this. And anyway, need we ask? It’s far more satisfying to just trip off with The Curtains while they dazzle us with their warm enigmatic tales, bundled up in an intriguing, sanguine musical menagerie. Their fragmented inventions draw on all kinds of influences — from 60s-psych and prog (mixed up with some seriously addictive bubblegum melodies) to the more kitsch and bizarre sounds of “World’s Most Dangerous Woman” and “Invisible String”. CALAMITY is an album brimming with child-like wonder and a gushing stream of inspired musical ideas.
1) Go Lucky
2) Green Water
4) The Thousandth Face
5) World's Most Dangerous Woman
6) Tornado Traveler's Fear
8) Old Scott Rd.
10) Invisible String
11) Brunswick Stew
12) Fell on a Rock and Broke It
13) Spinning Top
"boisterous and inventive... " spin.com
"eccentric, quirky, angular, bizarre music that doesn't go out of its way to be accessible but isn't hostile or anti-social either. Drawing on a variety of influences ('60s psychedelic pop/rock, punk, prog rock), the Curtains are artsy and self-indulgent but never in an elitist, overbearing, hipper-than-thou way." allmusic.com
"the melodies are maddeningly addictive... " tinymixtapes.com
"not only the best and most eclectic The Curtains album to date but one of the best albums of the year." indiejudas.com
"full of dizzying chord changes, focused bursts of improvisation, breathtaking harmonies, and all constructed with a true Beatle-esque sense of purpose... " junkmedia.org
"uniquely crafted, innovative songs that keep the blood pumping" XLR8R
"the kind of smart pop that absolutely satisfies, that is engaging, that will imprint on your memory and hold a place or marker in your life of the time when you listened to it, and if you get it, really like it, you will hold in your hands and turn it over and over, the same way one might hold Opal, or maybe Rock Bottom…curious as much about the creation as the creator." daytrotter.com
"sugary indie pop of the finest caliber" The Stranger
"The Curtains' strange and beautiful rock could easily orchestrate a kitschy Michel Gondry movie." la.com
"It's curtains for Mister Cohen — Musical Curtains that is! Chris, who was arguably Deerhoof's cutest member, has immersed himself in calamity, or at least that's what his CD says. You can make yourself an easy target by calling your CD that but not Chris Cohen — this ‘Calamity’ is a casual lil' triumph. I'm grateful he left Deerhoof because instead of having just one excellent Deerhoof album this year, we have one excellent Deerhoof album and now this! Chris does it all, sings, plinks a piano, goes la-la, plucks a guitar like he's feathering a chicken, busts out kinda crunchy solos, applies drumsticks with force and restraint, does it all and gets some horn work help from friends for a few solid closers.
‘Odyssey’, Chris' sole vocal contribution to his final Deerhoof effort (‘Runners Four’) would have worked a treat here; it provides a good tenor for the album's tone, as does the opening track ‘Go Lucky’, a minimalist tune that reminds me of that Plastic Ono Band record Lennon made, you know, the bad-ass rhythm record. Nothing to say about ‘Wysteria’ though, other than to say it's a stuttering freakshow. Chris, it seems, is most amused by deconstructing tunes until they're these strange fragments for which noodling and disjointed effects can be layered upon; he also likes to bring tunes down to a virtual standstill before building them back up with a variety of warm licks. ‘Green Water’ flaunts bouncy guitar pop right in step with ‘Runners Four’. A Thousandth Face recalls The Magical Mystery Tour or The Crayon Fields eating their way out of a space cookie avalanche one psychedelic nibble at a time. It's like a collection of Deerhoof songs gutted by your local butcher, who also happens to know a frugal thing or two about cooking with fruits and spices.
" Shane Moritz, Beat Magazine, Melbourne, Australia