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revenge of palomar |
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palomar
II is listed as one of the top 20 "recordings by leading
new york bands". more... "Don't look
for gimmicks or gizmos when you go see the New York band Palomar....The
band's shtick-free live presentation is mated to a sound that
pulls in an almost bewildering catalog of precursors. The quartet
combines a sharp melodic sensibility with angular punkisms that
bring up comparisons with Switzerland's Kleenex and England's
Mekons...In addition to the band's own intelligently crafted,
charming, and tuneful compositions, Palomar II includes an unexpected,
cranked-up cover of Brian Eno's blissed-out "I'll come running".
Warren says of the group's translation "I think my solo
would make him cry because it's so sped up." "Whimsy
and sinew coexist nicely in the lean, peppy pop rock of Palomar,
a three-woman, one-man band whose songs jump from blithe choruses
to wiry guitar patterns to hefty distortion, all at the service
of the lyrics' articulate ambivalence." "Streamlined,
stop-on-a-dime, hardcore-speed sha-la-la pop songs with fresh'n'clean
four-part harmonies -- they've picked up the sparkly ball that
Talulah Gosh dropped, and they're running with it. Fast."
"I want
to date every member of Palomar (even Matt the drummer). I’m
listening to Palomar II—their second album (natch) of twee’d-up
punk/pop—and it’s plainly obvious there’s a super-peppy
party at their place every day. They must all live together,
think of the fun! I would go over to their New York apartment
and hang on the big sun-lit couch with my girlfriends Rachel,
Sasha and Christina (and my boyfriend Matt), and then they would
play jingly-jangly hoppy-poppy songs like “Knockout”
(“I’ll do anything you want, go anywhere you want to,”
indeed) and “Lesion” and “UP!” Sure, sometimes
their harmonies will be a tad off, but when they wail, “There
will come a day, when all your signs make sense to me,”
it won’t matter because they’ll be looking at me inquisitively
and I’ll be smiling back coyly. Maybe I’ll get overwhelmed
by the chipperness and run out for a pack of smokes; sometimes
I’ll just be like, “All this chirping is driving me
nuts! Can we put on some Ida and chill for a bit?” But relationships
are all about give and take, and if they can give me a couple
fewer songs per album (it’s the same deal I’m trying
to work out with Tullycraft), I’ll take Palomar III with
wide-open arms, too." "Local quartet
celebrates the release of its long-awaited sophomore disc, thoughtfully
named 'Palomar II' [Self-Starter Foundation]. We're happy to
report that the group hasn't changed a bit -- it's only gotten
better, faster, catchier and, at the right times, funnier."
"...wade
your way through the Hello Kitty delivery and you have a good
slab of catchy, competent songwriting. One of the band's talents
is orchestrating spunky, energetic vocal melodies. It sounds
like at least three, if not all four band members, chip in once
in a while to sing lead, enrich choruses, add counterpoint, or
complete a four-part harmony. Tonally, the band remains fairly
consistent, with treble-heavy bass, two guitars (one with a warm
electric tone, the other overdriven), and a nasal vocal lead.
The music itself is nowhere near as stagnant as most pop-punk,
though, as Palomar sensibly modulates tempo and intensity, like
on "Evening Falls at the Buffalo Bar," which shifts
from a slow, one-horse trot to a full-band gallop. "Up!,"
featuring two guys from the Strokes (!) on background vocals
(not Julian), builds through a standard punk verse to a super-catchy
Grease-like theatrical chorus and denouement." "The songs of Palomar are
beyond peppy, blasting into full-blown exuberance. An infectious
energy runs through all the NYC band's material, fueled by who-knows-what
and ending who-knows-where...With a reliable label now behind
them, Palomar seems set to penetrate further reaches of the rock
underground, and it's safe to say that nobody coming across them
should leave without a grin. " "Angelic melodies and clever
arrangements are hallmarks of great indie pop. Palomar infuse
copious amounts of both into every track on their sophomore record.
They also add absolutely fearless guitar work and kick ass energy
that push Palomar II way ahead of the pack. All of that while
sparing us the contrived cutesiness and art school cool that
bog down so many indie pop bands; Palomar are a pop band who'll
hold the door for themselves, thank you very much. And they prefer
the direct approach with their lyrics, who needs to be coy when
you know what's on your mind? The incredibly frantic "Knockout"
is a piece of art, their Brian Eno cover ("I'll Come Running")
is better than anything Iive ever heard Eno do, and, if "Can't
Wake Up" is any indication, they're Mets fans. More need
not be said...but just in case, this is one of my favorite records
of the year." "I didn't realize how much
I missed Boycrazy, Portland's now-defunct kings and queens of
pop, until I really sat down and listened to this disc. GODDAMN!
WHYYYYY? At any rate, Palomar fills a little hole in my heart
by being one of the tightest indiepop bands ever. These great
musicians play super-fast, fun, full riffs, great drumming, and
sweet lady/man melodies that are complicated and catchy without
being annoying, dusted with an uncontrollable, spastic glee.
There are rough points--the Shirley Temple melody overdose of
the line, "When you whistle that means you're happy"
briefly makes me want to rip out the throat of the singer--but
my reactionary anger is calmed by the fact that Palomar can hang
with a loud guitar and a hot rhythm. " "Their new release Palomar
2, on the independent Self Starter Foundation imprint, is a gem
of a find. A hybrid of quirky power pop with just the right fuzzy
garage distortion, the rock n' roll of this three girl, one guy
team is the aural equivalent of a chocolate popsicle on a hot
summer day. This is top notch stuff...If Palomar keeps up this
level of charms and craftsmanship, they are destined to have
a lengthy and fortuitous career, complete with heart-throb posters
in all your favorite magazines...The band have mastered a rollicking
yet sparse power-pop that really grabs a hold of listeners...
Palomar will probably fulfill many rock fantasies for years to
come"...(click for entire article) "Palomar songs sound like
the hymn of some adolescent friendship pact. There is a rush
to say things fast and loud, the lyrics explode like a pop confession
flanked by punkish guitars and a hard-bitten drum kit. Palomar
II is the second work of this 3 girl/1boy NYC band. It crashes
like a Karen Carpenter with enough courage to be more radical
and make her good-girl daily life anthems into a demand for attention.
So Palomar are brave in picking a little bit of bitterness and
then just having fun with it. They end up smartly unpretentious
and optimistic. The album starts with "Knockout", a
quick and sharp delivery, rhythmically coordinated, using mixed
styles as if it were a dysfunctional, but artistically gifted
schoolboy. "The Single" is a fast drive. Two different
voice lines interplay emotionally filled with an urgency that
shouts that it "will all depend on whether you are listening."
They included a cover from Brian Eno's song "I'll Come Running"
that succeeds in creating a noisier atmosphere than the original.
Overall, Palomar II gives the impression of younger sisters secretly
picking up a big brother's musical instruments so they can play
all afternoon before he returns from guitar lessons. In lighthearted
attempt, they mimic, laugh at TV commercial's music, make satiric
covers, accelerate the rhythm and mock their own vocal dyslexia.
But also, and not unconsciously, Palomar is able to give serious
lo-fi thoughts about the clichés of love, dark harmonies,
and really take music as their enjoyable recess between repetitive
neighborhood tours, peanut butter sandwiches and endless phone
conversations. "...Palomar II arrived
in my mailbox at just the right time; I’d been wondering
when was the last time I’d been really excited by some peppy,
simple sing-a-long music. Palomar caught my attention immediately
with the first song, “Knockout.” I thought to myself,
“This is pretty happy stuff. I’m not sure if it has
the hooks to knock me off my feet, though.” As if reading
my mind, Palomar jumped into the three-art harmony of the chorus:
“Doo doo, doo doo, doo doo / Deny! / I’ll do anything
you want go anywhere you want to / K.O.!” I was floored.
I repeated this track a few more times, catching up a few months
without a new, sugary pop that made me lick my lips, and just
in case the rest of the album didn’t deliver in the same
way. I needn’t have worried, because Palomar II might be
the best girly (sorry if that adjective offends you, but if you
heard this, that’d be the word you’d use too) pop record
this side of The Decline and Fall of Heavenly. The lyrics
are cute and sassy; the band sounds like they’re bouncing
off the walls of the studio with songs like “Lesion,”
one of the most shamelessly twee songs to cross these ears in
some time. Is it irony you crave? The hardest-rocking of II’s
fourteen songs is a cover of Brian Eno’s “I’ll
Come Running.” Like a big, sunny smile, Palomar made my
day without really needing to try...(click for entire article) "Somewhere in between the
"political is personal" earnestness of yesteryear's
Olympiad grrls and the sugary sweet innocence of yester-yesteryear's
Brill Building girl groups is the hook-filled, adrenalized whimsy
of Palomar. The choppy waves of spiked punch in which this three
gal, one guy New York quartet swims is undeniable, yet they're
also awash in lilting melodies and poppy boppiness. Palomar touches
on everything from moody pals to the mixed signals sent between
genders to a churning, energized Brian Eno cover ("I'll
Come Running") and they do it with a fun loving half smile.
Like Le Tigre, they're getting their feminist-tinged message
across with a sing-along dance party. Yet most of the time their
party exists in form rather than content‹despite the strength
and intelligence portrayed, insecurities and dependencies are
also acknowledged. In a way they're too busy perfecting their
glossily harmonized "sha na nas" and "doo dee
doos" to dwell on oppression or depression. In Palomar's
world, the weather is always like one of those freak rainstorms
where the sun shines brightly while it continues to pour. You
can't help but imagine that the unique 80's UK punk associates
The Raincoats are Palomar's cool aunts; just like the latter,
you get the sense that this music was made primarily for their
own shits and giggles. Palomar's output comes from what brings
them joy and that joy is brought to us." "...Palomar specializes
in fast, melodic, carnival-ride punk pop tunes. They'll remind
you, by turns, of X and the Breeders and Shonen Knife and, sometimes,
of the Go-Gos played on 78 (for those of you who grew up in the
digital age, this means really fast). The vocals are very high
and tight and fast, layered over solid, bouncy rhythms. This
is a band that is not afraid of pop hooks and doo-wop-on-speed
choruses -- but if you write them off as pure sugar, you are
missing the point of Rachel's sardonic grin. There are no frills
in their set, no jumping up and down, few and short instrumental
solos, not much interplay between the band members beyond eye
contact and an occasional smile. But the tunes are sharp and
ironic, the rhythms fast and insistent, and the singing piercing..."
more... Live review of Pop Montreal show:
"New York's Palomar made their first local appearance with
a stellar set of tunes from this summer's Palomar II. The sound
man was clearly on their side, as he did a bang-up job of giving
each of the three female vocalists a clearly defined space in
the stereo mix. Guitars were bright, lyrics were intelligible
and more than few over-eager male punters received a sardonic
tonguelashing from Rachel between tunes (such a thing is always
a possibility with such a gender-minded band, and few in the
room would have had it any other way)." more... "This is not the Buffalo
band that recently disbanded. This is the NYC group whose existence
forced the Buffalo band to lengthen its name to Palomar Sky Survey.
It’s no stretch to imagine that fans of one band could also
like the other. Both make buoyant indie-pop songs with shared
male and female vocals, guitars, drums, and bass. One difference
is that Palomar is a bit happier than P.S.S. was; they don’t
take themselves quite as seriously. On this, their second full-length,
we find more frantic, ecstatic, quirky pop. Palomar is nothing
if not exuberant. The pace and arrangements of many of the songs
make them seem like the musical equivalent of Mr. Toad’s
Wild Ride. Most of the album is like a strange combination of
Heavenly, Papas Fritas, and a Gilbert and Sullivan operetta.
The members of Palomar could easily have been creating and staging
elaborate musicals in their basements or back yards when they
were kids. When they drop the intensity down a few notches, like
they do on “New Day,” it’s as sweet as sweet can
be. Palomar II is a super catchy record that will have you singing
along in no time." "Take two girl geniuses,
one boy drummer, a friend who plays bass and a name taken from
an observatory. Place quietly in the New York music scene circa
1999, pledge allegiance to all things indie...If you aren't already
familiar with the result, fans of twee-pop icons such as Heavenly
and Cub will surely feel at home with Brooklyn's Palomar and
their sophomore effort, Palomar II..."more... *** [three stars] "It's
no mere coincidence NYC's Palomar thanks a couple of The Strokes
on the band's classic rock album titled 'Palomar II.' With an
uptown garage ethic and a jittery '80s punk undercurrent, Palomar
has enough in common with Manhattan's media darlings to have
shared a number of stages with them. Palomar differentiates with
its three-girls-and-a-guy membership, leading to a sonic subtext
playing out like the Roches with a 'White Music'-era XTC fixation.
Look for the trash-bratted version of Eno's 'I'll Come Running.'
" "I had seen this band live
recently at the Knitting Factory and was impressed. The songs
they performed were tuneful with a stop and start tempo and an
aggression recalls a bit of Sleater Kinney and Veruca Salt. Their
second album serves as a reminder of those catchy songs that
were played live: tracks like "Knockout," "Static,"
"Either Or," and "New Day" carries a nervous
punkish sensibility with some spiraling guitar, and the female
fronted harmony vocals of Rachel and Christine adds a little
innocence that belies the music's edge . Fans of lo-fi alt rock
can readily identify with something a little left of center like
this record." newbeats... The article "You Weren't
Trying Hard Enough in 2002: 50 Records From This Year That Prove
There's as Much Good Music Today as Ever Before" lists Palomar
II as one of them. (click for entire article) "Surprise random pop gem
of the season, Palomar emerge from the sewers of New York City
mutated into a frantic concoction of pure cocaine and sugar.
The three-girl, one-guy band's songs are catchy, short-sharp-shock
lo-fi harmonized pop that sounds like Bis, New Pornographers,
Ween, early ABBA and, well, sometimes almost as icky slick as
Manhattan Transfer. But, really, I mean that in reference to
their vocal talent, not to draw comparisons to the lame lounge-jazz
harmonies of the Manhattan Transfer. Opener, "Knockout"
sounds dangerously close to the New Pornographers' veritable
synth-pop rock masterpiece, "Letter From an Occupant"
replete with multi-layered vocal harmonies floating over chirping
post-punk riffs. Throughout, the girl vocal harmonies reach near-Chipmunk
punk proportions, but the spastic music makes it all make sense.
For name-drop sake, the guitarists in the Strokes sing backups
on two songs, and probably have some nepotistic connection to
the band. Regardless, this album is nearly as jam-packed with
rapid-fire pop gems as the New Pornographers excellent debut,
Mass Romantic, and similarly melodically frantic in polka-punk
perk." "Along with the Lost Patrol
and Ko and the Knockouts, the sounds of Palomar have crossed
the country from green fields to this brown town through the
science of the internet and the magic of WFMU. Having their own
sound could be considered an understatement when describing this
indie-pop band consisting of three females on the frontline and
a guy on drums that play with an incandescent energy that could
light up every streetlamp in all five boroughs. These creative
songs burst out of the starting gates with a brisk pop and then
dash down the straight-aways before turning some unexpected corners
with lyrical dexterity and finesse to some never explored cool
parts of town -- illuminated by ambitious and actualized idealism.
Hard to describe, but very easy to like this band that remembers
the concept of playing and living up to potential! And nobody
has done it better in 2002 when it comes down to CD packaging/design
than Palomar." |