Albums by this artist

Everyone Who Pretended To Like Me Is Gone (2002)

The Walkmen

Everyone Who Pretended To Like Me Is Gone

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» A.K. GOLD | STAFF WRITER

The Walkmen Everyone Who Pretended To Like Me Is Gone Startime International, 2002 RiYL: Jonathan Fire*eater, Natural History, Clinic

From the ashes of the Recoys and Jonathan Fire*eater (asterisk required, much like *N'Sync) rose the comely, New York-by-way-of-D.C. band the Walkmen. Over the last three years, the five-piece has developed a compelling brand of guitar-heavy, prep-school art-rock through two EPs, two vinyl records and countless live performances. With a hyped reputation preceding them, The Walkmen offer up Everyone Who Pretended To Like Me Is Gone, which is composed almost entirely of songs that have already appeared on their EPs and vinyl-only releases.

Despite this fact, the LP is an engaging and well-made record that doesn't sound like a hodge-podgy compilation of past releases. Matt Barrick's spastic drum work (see the band live and you'll know what I mean!) and Peter Bauer's bass lines provide a smart and diverse foundation on which Paul Maroon and Walter Martin build their sometimes sparse, sometimes hooky, sometimes cacophonous guitar, piano, and organ parts. And atop the skeletons and walls of sound, lead singer Hamilton Leithauser's bold and sexy vocals curl and wail fragmented stories and clever barbs.

On tracks like "Wake Up" and "Revenge Wears no Wristwatch" the band builds syncopated, midtempo songs that are both danceable and catchy. Conversely, more elliptical offerings like the album-opening "They're Winning" and the Sigur Ros-soundalike title track (sans the Icelandic vocals) showcase the band's ability to craft both slow and driving soundscapes.

An enjoyable debut from a solid band, even if all they did was pilfer from themselves.

A.K. GOLD | A.K. Gold lives in Washington, D.C., where she slaves away for a non-profit organization and constantly compares everything to New York City or Chicago. She's earned her "cred" as a college radio and pre-1960 country music DJ, committed indie label street teamer, sporadic zinemaker/contributor, retired mail-order filler and occasional freelance writer. From time to time, she publishes Anecdotal Evidence, a per zine that will some day be considered for the National Book Award, or possibly not. If you want to buy a copy, or desire to write to her for some other reason, email criticgirl@hotmail.com.