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The Love Language worth a listen

April 2, 2009

OK, press play and catch up with me on the other side.

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Unfortunately, that’s just about the most fun that The Love Language have on their self-titled debut. Of course, I use the term ‘their’ lightly.

The album was actually recorded completely by group mastermind Stu McLamb in a Raleigh, N.C., storage space on a four-track. The band was built out of the necessity of making all those lovely lo-fi noises live. Stu may have a lot of talent, but as of this writing, he only has two arms.

b5c240982f39bfb3ff343a0872b927aa_mediumSo, yes, it’s got one of those wacky, humble beginnings that comes with the press release for any “garage band.” Minnesota’s Tapes n’ Tapes made a name for themselves (briefly) after recording, well, tapes and tapes of demo-quality material around a kitchen table. The White Stripes cut their teeth in a seedy Detroit studio called Ghetto Recorders.

However, The Love Language sound closer to a band that had no storage space, ghetto or kitchen table cred. A lot of the Strokes success is owed to the fact that their debut LP sounded so good. It was gritty for gritty’s sake and bankrolled by a major label.

The Love Language starts out with a very Strokesy vibe: the static-laden vocals, lazy tempo and late-night lamenting. It jumps into the Spector-licious “Lalita.” Can’t go wrong with a song about a girl whose name sounds like a chorus.

It is, however, the album’s only true gem. The remainder, about seven songs, rolls along at a much slower pace. The indie waltz that drives “Nocturne,” pretty much sums up the sound.

It’s not bad, just not as exciting as “Lalita.” McLamb comes close once more with “Providence.”

The ghostly tambourine and piano playing throughout is enough to keep the listener engaged for the scant 30 minutes required to listen to the entire full-length. Basically, there’s nothing to lose but the opportunity to find a few gems of your own.

Post Rating (out of 5):


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Get Lalita.mp3


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