Cold & Bouncy (Import) (CD) ~ The High Llamas (Artist) Cover Art

Cold & Bouncy (Import) (CD)

By: The High Llamas (Artist)


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Review

Rolling Stone (2/5/98, p.62) - 3 Stars (out of 5) - "...O'Hagan decided to approach his Brian Wilsonisms from a new angle. With the help of Stereolab keyboardist Andy Ramsey, O'Hagan layered that band's trademark gurgling Moogs and galacting loops into the Llamas' pastoral pop sound..."
Spin (4/98, p.128) - 7 (out of 10) - "...Late '90s pop is doomed to be derivative, but that doesn't necessarily mean it's bunk. O'Hagan, though, would rather be seen as an innovator. Like Stereolab,...the High Llamas cloak their appropriation under the disguise of forward-thinking experimentalism..."
Magnet (3-4/98, p.67) - "...COLD & BOUNCY is well-planned, beautifully orchestrated and ultimately a finely polished pop gem..."
The Wire (3/98, p.56) - "...opts for a more electronic approach that brings them closer to the Bridget Riley-in-Cathy McGowan drag of Stereolab. Some hooks...you may find difficult to dislodge from your mind...for the way they tap into pop archetypes..."
Option (3-4/98, p.92) - "...Kick back in your easy chair and enjoy one heck of a melodic journey."

Title Note

The High Llamas include: Marcus Holdaway (cello); Sean O'Hagan, John Bennett, Jon Fell, Rob Allum.

Additional personnel: Kelsey Michael (vocals); Jackie Norrie, Sally Herbert, Julia Singleton (violin); Katie Wilkinson (viola); Colin Crawley (tenor saxophone, flute); Steve Waterman (trumpet, flugelhorn); Andy Robinson, Mark Bassey (trombone); Dominic Murcott (vibraphone, marimba); Andy Ramsey (electronic percussion, sound effects); Fulton Dingley (programming, loops).

Recorded at Blackwing Studios, London, England in 1997.

If your tastes run towards lounge music, analog synthesizers and the Beach Boys' PET SOUNDS, you'll want to keep up with every installment in the High Llamas saga. They don't vary very much, but each album does get closer to a kind of postmodern pastoral. Where PET SOUNDS managed to create pastoral music out of post-barbershop harmonies and sophisticated orchestral arrangements, the High Llamas make theirs out of gurgling synths, warm vibraphones, hypnotic vocal melodies (when there are vocals; several tracks are instrumentals) and other ambient touches.

Tracks like "The Sun Beats Down" are essentially ambient music with choruses and, as the title suggests, a noticeable pop bounce. The occasional addition of horns, as on the gorgeous "Painters Paint," brings things a bit closer to recognizable PET SOUNDS territory, or more aptly, like Stereolab producing XTC. The Llamas are a smart, unique pop band running amok in an electronics store.


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