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No Shouts No Calls' instrumentals are just as strong as the tracks with vocals, and revel in the pure emotional power of sound. 'Tram 21's mischievous organ and guitar interplay is jaunty and slightly trippy, while 'Five' is the album's searing, insistent powerhouse. On No Shouts, No Calls, the Krautrock-esque sonics of the band's last album have been fused with The Power Out's flair for continental pop, but it's the guitars that sing loudest: Each of the.
Double vinyl LP pressing. 2007 release, the fourth album from the British Indie Rock band. Originally released on Too Pure, it's widely considered the band's most accessible work to date and it delivers a set of urgent, romantic epics. Tracks like 'The Greater Times' and 'To the East' are direct yet complex, with soaring melodies, and the contrast between intimate, almost too-personal words and the swelling sounds around them is exquisite. And while the album is dominated by the intense, impatient joy of 'At Sea', which rides glorious swells of keyboards and fuzzy guitars, it's lightly heartbroken moments are just as lovely: 'Saturday' boasts beautiful call-and-response vocals and lyrics that feel like a nursery rhyme about a breakup; 'Cut And Run' pairs a lighthearted melody and ukulele with the painful realization that a relationship is likely over.
Mia Lily Clarke, you don’t know me but I’m in love with you. I have your poster on my wall. I’ve yet to take out a felt tip marker and encapsulate your face in a heart with the most sacred shade of red, but that will come.
With grace and fury you manipulate those strings to your every whim. Static and feedback erupt through the cockles of my heart as you sprawl across your amp to wrangle out the crunchiest of tones. You’re a hell of a guitarist in one heck of a band, and your newest album, No Shouts, No Calls, only further highlights your contributions to the quality. I listen to you shred on songs like “Five” and “After The Call” and I just melt. In actuality your bandmates are something special too, each adding their own distinct (and spicy) flavors to the dish.
All cooked together and taste buds are wagging. But Mia, your guitar is making me do backflips. I’m heaping a ton of singular praise, I know, but I don’t want to appear as if I’m fawning. However, I am fawning.
No Shouts, No Calls is a coupling of previous compulsions that the band modifies into a certified step-forward. While originally debuting in 2001 with Rock It To The Moon, it’s safe to say Electrelane perked up the most floppy ears with 2004’s The Power Out. Infectious, moody, pop-laden hooks filled that little charmer, so it was a bit jarring when the band returned to their concisely instrumental roots with their follow-up effort, Axes.
The buzzing, harmonious vocals were nearly absent, and the compositions were positively jammy and Sonic Youth-ian. Now, with their fourth outing, the band return to The Power Out’s playground, equipped with the chops their latest lineup displayed on Axes. The album only benefits from it, becoming a more-than-worthy successor to both previous releases. Clarke isn’t the only one that deserves mounds of accolades (although her steady and frequent axework is certainly worthy). Keyboardist/vocalist/guitarist Verity Susman is the anchor of the band’s sound, perpetually grounding their experimentations in jaunty tunes that maintain the epic fabric from which they sprung.
![Calls Calls](https://sleeperinmetropolis.files.wordpress.com/2009/04/scattered-polaroids-201.jpg?w=247&h=300)
Her lovelorn voice returns from the depths on most of the album’s songs, often accompanied by the other girls in sweet, sweet melody. “Between The Wolf and The Dog” is the perfect hybrid, with its scathing guitar chugs progressively joined up with vocal whoops and hoots. The trend continues with the 1-2-3-4 punch of the opening tracks.