The Ivory Coast
Clouds
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The Ivory Coast
Clouds
Polyvinyl, 2001
RiYL: Karate, Pele, Superchunk |
So inquired a friend upon returning a stack of my favorite records that were released in the last seven years. I had no well-conceived response, only the vague statement "I don't know, it's just that fuzziness feels right." But even being a firm proponent of the lo-fi aesthetic can't sway me from commenting on the ridiculously crappy sound quality that overshadows some tracks on the Ivory Coast's second full length, Clouds. Some of the songs on this LP sound like they had to have been recorded in the depths of Carlsbad Caverns or on a busy airport runway. Nevertheless, the songs are so catchy and energetically realized that I'll readily admit to enjoying this eclectic sonic disaster.
Throughout the ten tracks of Clouds, the Boston five-piece offers up power pop, driving guitar rock and even a sprawling instrumental jam. The thrashing "Swope" features a guitar hook that sounds like a speedy old Metallica guitar part placed within a pop song and slathered with layers of feedback and reverb. Beneath the guitar explorations lie pretty, tinkling piano lines and Mahmood Shaikh's steady, simple and dynamic drum work which holds the song together.
On "Sixty-Five Percent," the band slows the tempo down into a ballad. Lead singer Jay Cox walks the fine line of being in tune (and sometimes falls off that line), but the sincerity of his delivery redeems the performance. Nick Hubben's syncopated bass line holds the crew together as they bust into an instrumental break and the song's sped-up ending.
In a different feel, "Daily Routine" opens with a hollow voice and acoustic guitar strum-a-long which, with the addition of horns, shakers and the drum kit, sounds like a lost track from the Elephant 6 catalogue.The last track "There Will Be Clouds" progresses from a harmonized rock song with a tinge of rockabilly shuffle to an extended instrumental improvisation. The way the band members play off of one another and make use of simple note and chord progressions adds a mathy,minimalist feel which the Ivory Coast utilizes to explore a range of quieter dynamics. The song was the sole first take that made it onto the record and the energy captured in this track is on a higher level than the rest of the album.
In fact the quality of the closer speaks to the rest of the record's shortcoming. The songs are pretty solid, but the way they have been mixed and produced, coupled with the subpar studio performances, make the listener wonder if the band would benefit from the immediacy and the feedback of the live setting. Despite this, Clouds remains a solid record that provides insight in the Ivory Coast's potential for the future.
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.