At first listen, the Earlies’ sophomore full-length, The Enemy Chorus, falls nicely into the experimental end of the greater sonic spectrum. It’s psychedelic to be sure, with plenty of outlandish synth elements playing off of piano and guitar melodies, watery bass-lines, upbeat percussion, big-band horns, found-sound background effects, and pleasant, oft-augmented pop-rock croons.
Based out of both northern England and western Texas, principle bandmates J.M. Lapham, Giles Hatton, Christian Madden, and Brandon Carr draw deeply from the wells of American and British musical history, unifying divergent elements of pop, blues, country, prog, folk, and world music into one delightfully discordant sonic collage. There’s the sitar-lead, Eastern-themed groove of “Breaking Point,” the piano-pop and vamped chorus of “Burn the Liars,” the faux-harmonica intro and pulsing rhythms of “Bad is as Bad Does,” the droning strings, blaring horns, and otherworldly riffs of current single “No Love in Your Heart,” and the soothing acoustic guitar, bells, and accordion that collectively breathe life into the haunting requiem of “Broken Chain.”
With so much going on in each track, let alone the entire album, it’s hard to pick out one specific element as the center of any given song. But, to focus on any one thing would be a disservice to aural acid trip that the Earlies have crafted with The Enemy Chorus. Trip on this, and forget your worries about side affects, harsh come-downs, and government raids.
Audio Reviews (February 28th, 2007)
Tags: audio, review, the earlies, the enemy chorus, secretly canadian