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Avg: 3.5 (167 ratings)
- Date Released: February 13, 2007
- Genre: Rock/Pop
- Label: Mis Ojos Discos / IODA
An intriguing collection of dreamy, haunting pop songs and sound-sketches.
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We Say...
A Sunny Day in Glasgow’s first full-length album is an intriguing collection of dreamy, haunting pop songs and sound-sketches, its title perhaps a neat allusion to the impressionistic and transitory sound the Philadelphia-based trio debuted on their 2006 EP, C’mon, most of which is included here.
As befits a family project — the band consists of a brother and two sisters — there’s an intimate, almost hermetic feel to the recording, traces of footsteps and traffic sound lingering in the mix. Lauren and Robin Daniels’ perfectly matched voices echo around brother Ben’s shimmering guitars, keys and beats as if speaking a private sibling language.
While the gentle dissonance, layered vocals, and liberal use of delay bring to mind contemporaries Animal Collective, Grizzly Bear and CocoRosie, A Sunny Day in Glasgow also draws upon the shoegaze bands of the early '90s, especially Lush, Slowdive, and the Pale Saints, along with occasional nods to the fuzzed-up excesses of My Bloody Valentine or the Jesus and Mary Chain. This is a seam of influence that bands were sure to start mining sooner or later, but A Sunny Day in Glasgow do so with an assured and affectionate touch.
The band also steps outside the shoegaze template with interesting results: "Number 6 Von Karman Street" is based around a gentle acid-house rhythm, recalling both 808 State and the poignant, sub-aquatic disco of Arthur Russell. On "A Mundane Phonecall to Jack Parsons" and "Our Change into Rain Is No Change at All (Talkin’ ‘Bout Us)," distorted motorik beats booms beneath percussive keyboards and precise vocals that echo Stereolab or the deliciously impersonal singing of Broadcast’s Trish Keenan. In fact, Broadcast’s presence recurs throughout the album, not only in the retro-futurist feel of the harmonies on "Things Only I Can See," but also in the spacious, radiophonic production, with its bursts of atmospheric noise and echoing, galloping drums. This, in turn, is a nod to production pioneers Joe Meek and Phil Spector, key references that confirm A Sunny Day in Glasgow’s place in the psychedelic bubblegum continuum of which they’re clearly enamoured. -
They Say...
If listening to Scribble Mural Comic Journal could be likened to watching a horror flick made in the 1950s, Ben Daniels would be a skinny teenage genius in a baggy lab coat, his twin sisters Lauren and Robin would be his eerie assistants clad in go-go boots, and the album itself would be his robot bride. In other words, A Sunny Day in Glasgow's debut is ambitious to the point of becoming monstrous; it strides right past the pop-oriented shoegaze material of the preceding EP and dives right into the sometimes miry tangle of Ben's auditory imagination. Lauren and Robin's tightly wound vocals are gorgeously incomprehensible, the guitars are acidic and knotted, the drums sound like they were recorded at the bottom of an abandoned mineshaft, and the whole thing comes off like a hot, blurry night at the bar. It's the kind of album that demands headphones. The most memorable moments on Scribble Mural are those that skillfully toe the line between shoegazey pop and avant-garde noise. "A Mundane Call to Jack Parsons" is spot-on with its Byrds-esque harpsichords and urgent drums, not to mention the fact that Lauren and Robin's vocals are given room to emerge through all that noise. "C'mon" opens with structured, springy guitars, only to lavishly implode into a mass of distortion and wails. "Our Change into Rain Is No Change at All" does the reverse, building ethereal pop out of seemingly chaotic guitars, tambourines, and synths. Scribble Mural takes Sunny Day's debut EP and splatters it, Jackson Pollock-style, against a wall. But for all the contortion and deconstruction going on here, Scribble Mural maintains the slightly disturbing and oddly uplifting vibe that made Sunny Day's teaser EP memorable.
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| 01. |  |
Wake Up Pretty |
1:59 |
|
| 02. | |
No. 6 Von Karman Street |
4:15 |
|
| 03. | |
A Mundane Phonecall to Jack Parsons |
3:21 |
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| 04. | |
Our Change into Rain is No Change at All (Talkin' 'bout Us) |
4:24 |
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| 05. | |
Ghost in the Graveyard |
5:59 |
|
| 06. | |
5:15 Train |
4:12 |
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| 07. | |
Lists, Plans |
4:54 |
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| 08. | |
C'mon |
4:27 |
|
| 09. | |
The Horn Song |
1:28 |
|
| 10. | |
Panic Attacks are what Make Me "Me" |
5:15 |
|
| 11. | |
Watery (Drowining is just Another Word for Being Burried Alive Under Water) |
4:01 |
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| 12. | |
Things Only I Can See |
5:05 |
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| 13. | |
The Best Summer Ever |
4:43 |
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13 Total Tracks, 54:03 Total Length
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Credits
- Dan Swift - Mastering // Steve Heise - Banjo // Ben Daniels - Group Member // Robin Daniels - Group Member // Lauren Daniels - Group Member // Ever Nalens - Artwork // Naomi Donabedian - Design
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