Henry Demos and Lewtrakimou
If you’re anything like us you’ll already be a big fan of Korea-born basement pop band Nice Legs. Last month, the duo behind the band released a fantastic split solo record. The 23 track album, entitled I Was Trying To Get There But It Was Hard To See From The Balloon, is available now on Fox Food Records.
Every once in a while, you listen to someone’s music and you really cannot think of what to say about it. Not because it’s in anyway bland or unworthy but simply because you don’t want your writing to be a series of superlative comparisons and unyielding praise that concludes, “this album is just really, really, really great”.
I Was Trying To Get There But It Was Hard To See From The Balloon is one of those times. So at the risk of seemingly hopelessly over-enthusiastic here goes.
The first 10 tracks on this are by Henry Demos and fuses garage pop with some psychedelic, slacker sounds. The song writing drifts seamlessly between humorously upbeat tracks like God Dies Alone and oddly moving tracks such as Tonight Was Dumb and side A closer Starve. There’s a relaxed pace to all of Henry Demos’ stuff and a warm haze that, despite how interesting a record it is, make it extremely listenable.
There is definitely a strong pop-sensibility to what he does. That said, the eclectic collection of sounds coming from his inventive use of instruments and interesting production make the first half of this a unique and refreshing listen. In fact, on any other split, Henry Demos would have probably been considered the more “out there” artist. But this isn’t any other split.
The second half, by Lewtrakimou is less focused on a traditional song-writing approach than the first half. Instead, Lewtrakimou layers her unusually beautiful sound-crafting ability with her unique, cat-like vocals to make a series of minute long pieces of music. It’s a complex listen, with the songs flying by before you’ve had a chance to really imbibe them. Rather than be off putting, this gives the second half a freshness that makes it worth revisiting.
The production on this album lends a retrocentic edge to everything. This is no doubt a result of the DIY production values the album points towards. Yet while the recording echoes something between a 60s garage sound and a Half Japanese record, it’s also pretty cutting edge with audible references to the likes of Ariel Pink, Mac DeMarco, and Real Estate.
Despite it’s length, the album doesn’t drag at all – a salute to both the variety in songwriting, the contrast between the two sides and, of course, the length of the songs.
In conclusion; this album is really, really, really great.
For Fans of Mac DeMarco, Dent May, Ariel Pink, Connan Mockasin, Unknown Mortal Orchestra, Ducktails, Angel Olson, The Pixies, Crocodiles.