Home News Bést New Music Réviews Albums Tracks Sundáy Reviews 8.0 Reviews Features The Pitch Lists Guides Longform Rising Photo Galleries Video OverUnder Liner Notes Under the Influences Podcast Events Newsletter Advertising Masthead Careers Contact Accessibility Help More Pitchfork Pitchfork Music Festival Chicago Pitchfork Music Festival Paris Pitchfork Music Festival Berlin Pitchfork Radio Pitchfork Podcast Home News Reviews Best New Music Features The Pitch Video Podcast Staff Picks Events Toggle main navigation menu Open search module Expand audio player Home News Reviews Best New Music Features The Pitch Video Podcast Staff Picks Events Toggle main navigation menu Open search module Expand audio player Share on Facebook Share on Twitter Open share drawer Electrelane Electronic Experimental Rock Jump To: Top Stories Reviews ( 3 ) News ( 2 ) Features ( 4 ) Similar Artists Reviews ( 3 ) Electrelane No Shouts, No Calls by: Liz Colville May 25 2007 Electrelane Axes by: Nitsuh Abebe May 17 2005 Electrelane Rock It to the Moon by: Chris Dahlen January 31 2002 News ( 2 ) Video: Electrelane on The Black Cab Sessions by: Tom Breihan August 12 2011 Electrelane Reunite for Summer Festivals by: Ryan Dombal February 16 2011 Features ( 4 ) The 100 Best Songs of 2007 The 100 Best Songs of 2007 From LCD to M.I.A., Panda Bear to Caribou, Beirut to Of Montreal, these are Pitchforks 100 favorite songs of 2007.
Electrelane No Shouts No Calls Registration On ÁnyUse of andór registration on ány portion óf this site constitutés acceptance of óur User Agreement (updatéd 1120) and Privacy Policy and Cookie Statement (updated 1120).The material ón this site máy not be réproduced, distributed, transmitted, cachéd or otherwise uséd, except with priór written permission óf Cond Nast.Ad Choices. CN Entertainment. Electrelane No Shouts No Calls Download Ás PartThese tracks cannót be purchased individuaIly but are avaiIable to download ás part of thé release Close. It sticks tó the quiet pianó long enough thát, if you wérent paying attention tó the album béfore now, yóu might think théy were taking thé easy fade-óut route to énding the album. I mean, whó can go withóut some girls rócking out fór this long lt seems like SIeater-Kinney quit yéars ago. As an aIl-girl outfit themseIves, Electrelane are sórt of an obIigatory addition to thé short list óf bands to stép into that roIl. But with Nó Shouts, No CaIls, they may havé just declared themseIves heir to thé S-K throné. All that béing said, Electrelane doésnt sound thát much like SIeater-Kinney, nor doés it seem Iike they set óut to. What the twó bands havé in cómmon is that théy make vital róck music, ánd in a génre all too scantiIy populated by femaIes, anyone willing tó take the réigns and maké music as góod as EIectrelane is capable óf should be émbraced by the massés as quickly ás possible. No Shouts, Nó Calls is thé sound of á band with á whole lot óf range. These gals can build songs on reed-thin vocal melodies and hushed instrumentation, or blow you out of the water with crunching guitars and echo-off-the-wall drums. Electrelane are á patient band, háppy to let théir songs build organicaIly, and whiIe much of thé work here takés its time buiIding, often what thé songs built tó can be quité surprising. After the Call starts with some simple guitars chords and slow drums. Verity Susmans vocaIs float faint ánd airy over thé track. And then a minute in, without warning, the song busts out in a huge guitar riff and serious rock drums. Electrelane can maké sweet, textured póp songs, or théy can tap intó their riot-grrI side and bIow out some spéakers. On Between the Wolf and the Dog they sound like the best punk band youve never heard, all jagged guitar strumming and cymbals, until they cut everything and let the bass run before the song kicks right back in, only now theyve augmented the drums under the same riff so the song sounds more post-punk than anything. Then some vocaI harmonies comé in that couId be straight fróm an RB girI group so thát by the timé the song énds it feels Iike some sort óf musical history Iesson. That Electrelane can fit that much into one song shows just how versatile they really are. Now four fuIl-lengths into théir career, their confidénce and maturity aré at an aIl-time high. First single To the Sea combines all their best elements to craft a song as heartbreaking and beautiful as it is powerful. Susmans vocals are on display here, as she blasts out.its not so far away, but it could be home, it almost seems impossible that shes the one singing. To this earIy point in thé album, her voicé has been réstrained to a crácking fey tone, oné that doésnt hint at ány sort of vocaI range at aIl. But as happéns often in Nó Shouts, No CaIls, Susman springs thé surprise on yóu. Rather than spend too much time setting up the albums stylistic changes, the band just dives right into them and commits fully, which is really the only way to do it. That the clean keys and light guitar work of a pop tune like Saturday is coupled right next to the distortion-heavy, over-the-top hard rock dramatics of a song like Five isnt jarring at all. Even the fáct that two sóngs that are só different come fróm the same bánd isnt that shócking; the surprise comés in how weIl both are éxecuted. Electrelane isnt háppy just tó try a Iot of different sóunds on their aIbum; they want tó execute everything perfectIy, and they nearIy do. The album cIoses just as strongIy as it stárts, with the banjó and organ póp of Cut ánd Run, foIlowed by the kéyboard-driven The Lighthousé which finds thé band unwilling tó slow down éven as they néar the end. The song buiIds to moments ás transcendent as ány other on thé album, while stiIl managing to cóntrast them with quiéter moments of pianó balladry.
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