Tapes 'n Tapes, 'Walk It Off'pick

Minnesota four-piece breaks the indie rock mold on feisty sophomore album

By Matt Pais

Metromix
April 7, 2008

 
Critic's Rating:
4

Tapes 'n Tapes, 'Walk It Off'
Walk It Off
Release date:
April 8, 2008
Artist/Band name:
Tapes 'n Tapes
Record label:
Beggars/XL
Official Web Site:
http://www.tapesntapes.com/
Backstory: Minneapolis-based indie rockers Tapes ‘N Tapes broke big in 2006 thanks to “The Loon,” a quirky collage of nervous guitar and “this is our debut, take it or leave it” swagger, complemented by singer-guitarist Josh Grier’s defiant yet wavering vocals. The follow-up, feverishly produced by Dave Fridmann (Sleater-Kinney, Flaming Lips), serves as somewhat of a concept album about regrets and redemption.

Why you should care: “Walk It Off” finds a feisty, playful band becoming restless and, sometimes, downright angry, with a fuller sound that amplifies the emotional war zone found in Grier’s often abstract lyrics. When “The Loon” settled down, it felt gentle and almost sweet, but “Walk It Off” comes with an exposed nerve, a hint of a snarl, and the sense that it could either cool or explode at random in a much more jagged fashion than typical indie rock. The fury of “Hang Them All” and exhaustion of “Anvil” suggest that, if “Walk It Off” wasn’t inspired by real-life events, Grier sure knows how to fake it.

Verdict: Unlike its predecessor, “Walk It Off” snaps and crackles with fuzzy guitars, bangin’ drums and an overall sense of unease. The band is remarkably cohesive and sophisticated, though casual listeners who prefer the obvious, less challenging charms of, say, Vampire Weekend will find Tapes ‘N Tapes a bit knotty and occasionally abrasive. Even if Grier sometimes dwells too much on nature-based imagery (hills, beaches, water), he’s crafted a punchy, powerful sophomore record that’s at once accessible and confounding. “Walk It Off” wants you to walk it off, but not before you survive the tingling sensation of every hard, painful cut.

X-Factor: The record features a tune called “George Michael” that, lyrically or sonically, possesses no obvious connection to the veteran singer. You choose if it makes more sense to associate the tune with Michael Cera’s character on “Arrested Development.”

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