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Avg: 4.0 (53 ratings)
- Date Released: June 6, 2000
- Genre: Alternative/Punk
- Style: Indie Rock, Alternative
- Label: Slumberland / IODA
The first "second coming of C86"
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We Say...
That the big reverb, big melody sound of C86 is back in vogue these days via worthy revivalists like Vivian Girls and the Pains of Being Pure at Heart isn't all that surprising — more surprising is that it didn't ignite the first time it came back, nearly a decade earlier. In The Aislers Set's spectacular The Last Match you'll find all the same elements for which the current crop of Slumberland bands are justly praised: instrumental thunder, retiring vocals and hooks that go on for days. Album-opener "The Way to Market Station" is everything a single should be: indelible guitar riff, skip-n-jump vocals, a 50s sock hop in the middle of a John Hughes film. The group made just one more record — the equally-lovely Motown-inspired How I Learned to Write Backwards — before disbanding, but the Last Match, with its loving evocation of 80s twee, manages to be the rare record that's both ahead of and behind the times.
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They Say...
The Aislers Set are caught in a pop trap of either great inspiration or cloying pretension. It's up to a listener to determine which. One thing that's certain is that the band isn't the sum of their influences. The Aislers Set frequently take a Pet Sounds detour courtesy of a path lit by His Name is Alive's Stars on ESP. "The Way to Market Station" might as well be His Name is Alive's "The Bees" with new lyrics. "The Red Door" sounds like an extract from My Bloody Valentine's Isn't Anything. "Lonely Side of Town" is a departure into the pristine pop realm mastered by the Delgados, until the track takes a psychedelic turn. The band's sound takes on the haunted air of Broadcast throughout the album. They might be considered lo-fi cousins to that band. Other songs, particularly the sweet "Chicago New York," suggest the folk-pop of Belle and Sebastian. While The Last Match is charming in small doses, the breathy female vocals do take their toll over the course of the album; it's a minor relief when Wyatt Cusick takes over vocal duties on a number of tracks. Charm and catchiness can only take an album so far; cohesion is vital for great songs to total a great album. The album suffers due to the band's style browsing. It's a problem the band shares with Belle and Sebastian, as too many songwriters spoil the overall album. Like Belle and Sebastian, the Aislers Set are better at creating individual songs than entire albums. Still, fans of energetic neo-psychedelia will find worlds of pleasure, as the album is insanely catchy in spurts. The Aislers Set suggest on The Last Match that there's a great album lurking just beyond their influences and retro desires.
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14 Total Tracks, 35:44 Total Length
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Credits
- Steven - Trombone // Amy ? - Organ // Amy ? - Guitar // Amy ? - Percussion // Amy ? - Piano // Amy ? - Trumpet // Amy ? - Guitar (Bass) // Amy ? - Tambourine // Amy ? - Vocals // Amy ? - Melodica // Jaime ? - Percussion // Mike - Guitar // Amy Linton - Organ // Amy Linton - Bass // Amy Linton - Guitar // Amy Linton - Percussion // Amy Linton - Trumpet // Amy Linton - Drums // Amy Linton - Tambourine // Amy Linton - Melodica // Amy Linton - Vox Organ // Amy Linton - Tack Piano // Dustin - Organ // Wyatt - Organ // Wyatt - Bass // Wyatt - Guitar // Wyatt - Percussion // Wyatt - Piano // Wyatt - Bass (Acoustic) // Wyatt - Vox Organ // Wyatt - Casio // Wyatt - Toy Xylophone // Alicia Vanden Heuvel - Organ // Alicia Vanden Heuvel - Bass // Alicia Vanden Heuvel - Vox Organ // Yoshi Nakamoto - Drums
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