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Fiestas + Fiascos

by

Lifter Puller

 
Fiestas + Fiascos

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Avg: 4.0 (37 ratings)

Before the Hold Steady, Craig Finn masterminded this masterpiece.

  • We Say...

    All of the songs on this, the final and greatest album by the band that preceded the far better-known Hold Steady (both bands feature singer-songwriter Craig Finn and guitarist Tad Kubler, who played bass in L.P.), are set in the Twin Cities, and more than any other record I know, it absolutely nails the vibe of living there, young and restless and club- and rave-hopping, getting loaded (a) to have something to do and (b) because you might achieve some kind of spiritual transcendence in the bargain — or as Finn puts it, "It's too late for liquor/But we can get some 3.2." His unreliable narrators pile on so many details it'd be positively rococo if the needling hooks and Finn's desperate bark weren't so blunt-forceful. A prime case study in simultaneously making too much and not enough of your surroundings.

  • They Say...

    It's appropriate that Lifter Puller started in Boston and moved to Minneapolis, because their smirky and clattering take on post-Pavement indie rock channels both Boston art rock punks like Human Sexual Response, and the angular, danceable new wave of Minneapolis' late great Suburbs. Like the Humans' Larry Bangor and the Suburbs' Beej Chaney, singer Craig Finn has a unique and, on occasion, profoundly irritating voice. However, he's lost some of the obnoxious lounge lizard tendencies that made Lifter Puller's early singles so irritating, and the fuller arrangements and more fractured song structures -- two-thirds of these songs are well under three minutes -- keep even his most mannered vocals in the background. On songs like the organ-driven rocker "Space Humping $19.99," the overall effect is most agreeable to indie fans with fond memories of the pre-MTV '80s new wave scene, but those who previously considered Finn's vocals a deal-breaker will likely consider Fiestas + Fiascos only a minor improvement.

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