Albums by this artist

Cold And Bouncy (1998)

High Llamas

Cold And Bouncy

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» JOSH CLIFTON | STAFF WRITER

High Llamas Cold And Bouncy V2, 1998 RiYL: Beach Boys/Brian Wilson, Stereolab, Mouse On Mars

Sean O'Hagan is a true child of the late '60s. Since shedding his teen angst in the late '80s with his work in the Irish duo Microdisney, maturity has brought O'Hagan back to his roots. Since 1992, O'Hagan, under the guise of the High Llamas, has crafted four beautiful albums that hint at his admiration for Beach Boys songwriter Brian Wilson and collaborator Van Dyke Parks' awe-inspiring pop melodies of the 1960s and early '70s.

After creating one of the decade's most ingenious epics with 1997's Hawaii, O'Hagan continues the trend on follow-up Cold And Bouncy, mining a groundbreaking fusion of modern electronic sensibilities with lush string, vibes and horn accompaniments similar to those found on the Beach Boys' legendary releases Smiley Smile and Pet Sounds.

O'Hagan is constantly evolving. While Hawaii aims at the heart of summer with its rich, flowing melodies, Cold And Bouncy heavily reflects its moniker. The High Llamas attempted to embrace listeners on Hawaii, welcoming them into O'Hagan's stimulating world. Cold And Bouncy, while equally intriguing, distances listeners with cold and lifeless electronics. The works pose two different listening experiences and elicit different reactions but both showcase the work of a modern-day genius.

The Llamas' earlier works have all opened with warm orchestral arrangements, but Cold And Bouncy begins with a galloping electronic beat much in the vein of analog manipulators Mouse On Mars. Upon casual observation, it's clear O'Hagan has been listening a lot to the German electronic duo.

"The Sun Beats Down" begins with O'Hagan's familiar staccato piano pounding, but by song's end, the group is standing on new ground. Electronic programming full of analog whirls and blips loops continuously on each track.

Working with Stereolab on the group's past five albums has also had an impact on O'Hagan's songwriting. "Bouncy Glimmer," with its layered organ, keyboard and vibes elements, could have come right off of Stereolab's Dots And Loops album.

Cold And Bouncy has allowed O'Hagan to fend off criticism of what some call an attempt to recreate Wilson's work. It's not unfair to call Hawaii O'Hagan's Pet Sounds, but Cold And Bouncy is a different kind of musical destination at which Wilson never arrived.

JOSH CLIFTON |