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Bear in Heaven – “Beast in Peace”
Beast Rest Forth Mouth

It’s true what you’ve heard. This album is pretty great, and the opener is proof of that. They’ve got the vocals and instrumentation down pat, the drums (a non-standard kit) are big as hell, and they’ve got a self-interrupting song structure that really works. Man, the drums in this track really are just off the charts.

The theatre over, they would repair to some cloudy tavern, full of noise and smoke, and the glare of gaslight — redolent of the fragrant fumes of tobacco, gin, and porter, intermingled with the tempting odors of smoking kidneys, mutton-chops, beefsteaks, oysters, stewed cheese, toasted cheese, Welsh rabbits ; where those who are chained to the desk and the counter during the day, revel in the license of the hour, and eat, and drink, and smoke to the highest point either of excitement or stupefaction, and enter into all the slang of the day — of the turf, the ring, the cockpit, the theatres — and shake their sides at comic songs.

Samuel Warren, Ten Thousand A-Year

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Arthur & Yu – “1000 words”
In Camera

The shortest song on the album, and possibly the best. Beautiful and straightforward, and perfectly representative of the best these two can do. “Lion’s Mouth” is great as well but this one seems more — I’m not sure, actually. Somewhere between the naivete of innocence and the innocence of naivete. Whatever the case, it’s a wonderful little song.

…at the upper end on the raised dais was a couch of juniper wood set with gems and pearls, with a canopy like mosquito curtains of red satin-silk looped up with pearls as big as filberts and bigger.

Thereupon sat a lady bright of blee, with brow beaming brilliancy, the dream of philosophy, whose eyes were fraught with Babel’s gramarye and her eyebrows were arched as for archery. Her breath breathed ambergris and perfumery and her lips were sugar to taste and carnelian to see. Her stature was straight as the letter l and her face shamed the noon sun’s radiancy; and she was even as a galaxy, or a dome with golden marquetry, or a bride displayed in choicest finery, or a noble maid of Araby.

The third Lady of Baghdad in The Arabian Nights

Presently the door swung back and both leaves were opened, whereupon he looked to see who had opened it, and behold, it was a lady of tall figure, some five feet high, a model of beauty and loveliness, brilliance and symmetry and perfect grace. Her forehead was flower-white, her cheeks like the anemone ruddy-bright. Her eyes were those of the wild heifer or the gazelle, with eyebrows like the crescent moon which ends Sha’aban and begins Ramazan. Her mouth was the ring of Solomon, her lips coral-red, and her teeth like a line of strung pearls or of camomile petals. Her throat recalled the antelope’s, and her breasts, like two pomegranates of even size, stood at bay as it were. Her body rose and fell in waves below her dress like the rolls of a piece of brocade, and her navel would hold an ounce of benzoin ointment.

The second Lady of Baghdad in The Arabian Nights

She raised her face veil and, showing two black eyes fringed with jetty lashes, whose glances were soft and languishing and whose perfect beauty was ever blandishing, she accosted the porter and said in the suavest tones and choicest language, “Take up thy crate and follow me.”

The first Lady of Baghdad in The Arabian Nights

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Minotaur Shock – “(She’s In) Drydock Now”
Maritime

The playful, yet accomplished nature of this album is very evident in this song. The silly plucking and synths are balanced by really interesting drums and instrumentation, plus little throw-away details you don’t notice until a few listens in. You get the feeling that everything is exactly the way he wanted it to sound.