Magnus
Sleepwalker
© 2004 Nefarious Records (687440260326)
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Magnus presents a texture that is at times bright, near brilliant with a dash of richness floating in a sea of subtle warmth.
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Reviews from 2004's Sleepwalker record:
These little geniuses do nothing else but pop: intelligent, synthetic, emotional, delicate and twisted. Vincenzo Lorussa- Losing Today Magazine (..6), Rome, Italy
With music of this striking power right under our noses, the rest of America rock and its overwhelming mediocrity just lost its excuse. -Jack Rabid- The Big Takeover, Spring/Summer 2004 issue NYC
...electronic bleeps at play are promptly crushed by guitars... Magnus- who just might become college radios heroes of tomorrow. John D. Luerssen- AllMusic.com
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Magnus Portable Sun (Self released)
Some critics have labelled Chicago's Magnus as 'post-rock'. No such thing! If reference points are required, I would say the British rock scene of the early 80s - yeah, more like 'post-punk'! Heh. One caveat though, whilst one will certainly discern the influence of Echo & the Bunnymen, Teardrop Explodes, the Chameleons in tracks like "At the Edge of the Sea," "Pilot," "Go" to name but few, there is less emphasis on psychedelic guitar effects and pyrotechnics and perhaps more 'trad' indie-pop atonality in tracks like "Ivy" and "Feudalist." Either way, Portable Sun is a solid follow-up to the excellent Sleepwalker and is an essential release for fans of well-crafted eclectic pop-rock. -Kevin Mathews Fufkin.com
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...electronic bleeps at play are promptly crushed by My Bloody Valentine-like gu
author: AllMusic.com - John D. LuerssenChicago's Magnus embrace post-rock on Sleepwalker, crafting artful indie rock that's equal parts brains and brawn. If not inspired by Radiohead's The Bends, the disc can't help but recall it as evidenced by "Inside Out," one of several standouts. Another, "Behind the Eyes," feels closer to the pop side of Canada's Broken Social Scene. But for all the comparisons, Magnus somehow succeeds in retaining its own identity on this debut. The title track is as beautiful as it is powerful, where chaotic sounds are used subtly. The group is careful not to overpower the album with experimentalism, demonstrated to further effect on the set-bowing "Sun Burning Satellites." Here, the electronic bleeps at play are promptly crushed by My Bloody Valentine-like guitars, sounding like the perfect ending to a promising new album and the perfect launching pad for Magnus -- who just may become college radio's heroes of tomorrow.
...they could well grow into a leading -- even unique -- pop force in the future
author: Splendid MagazineHighlights from the website. See link for full review... Magnus accomplish the difficult feat of filtering Super Furry Animals' lush melodic tendencies through Unwound's more imposing songwriting ethic. The result is not as sweet to the ears as SFA's efforts, nor as challenging as Unwound's sometimes gargantuan epics, but it does make for a warm and impressive debut. Sleepwalker's title track is easily its most powerful, and wouldn't sound out of place on Unwound's masterpiece Leaves Turn Inside You. Tiptoeing across ominous, wind-machine-swept dry space with a cautious synth and then a beautifully melodic guitar line, it quickly obliterates its own patiently-constructed calm with a guitar-and-cymbal supernova. From that first catharsis, the band moves into more urgent rhythmic territory, until a mantric repetition of the line "Nobody like to lose" is eaten alive by a ferocious crescendo, culminating in the song's shattering climax. "Transmitting", while lacking the title track's beautiful melody, incorporates the kind of off-kilter chords and chord-changes that were littered throughout Leaves. The group changes tack on "Drinking with Baron", as an easy-going guitar hook is bolstered by serene horns and a diaphanous piano line. "Inside Out" plays like Bends-era Radiohead, moving from acoustic and bass leads into serpentine guitar hooks and an unpredictable chorus melody. Jonny Greenwood's guitar fireworks immediately come to mind during the song's climax, when a furiously strummed electric guitar shudders down the chord ranges in an overdriven rush...
"...the rest of America rock and its overwhelming mediocrity just lost its excus
author: Big Takeover MagazineA review by Jack Rabid in the spring issue of The Big Takeover... "One goes through a thoroughly depressing pile of 46 CDs by unknown artists utterly bereft of advanced talent and imagination, calling "Next!," hoping against hope there might be one like this hidden there. Wherefore art though, Cinderella trying to get noticed behind her wretched stepmom/sisters? But at last, here she is, not too late for the ball! What they remind of is early 1990s (i.e. comeback) Comsat Angels, with some Adam and Eve Catherine Wheel too. It's that marvelous swirling guitar edge, bonded to hard pop tunes that slowly but forcefully unfold and then implode, the pensive touches (love the trumpets and bits of piano, like on "Drinking With Baron," and the feeding back cello on "Awake"), the clear and clear-eyed singing, the long languid passages that give way to building storms, and riffs that catch you from first play. Excellent! This Chicago group won't fall in line with prevailing indie rock elements, putting up a false intensity. They just let the delighting, surprising turns in their tightly-written and executed music speak volumes. I can't remember the last time I heard such inventive guitar passages from an American band that doesn't ape Neil Young, yet seems like they might have heard Brian Eno's Here Come the Warm Jets or Radiohead's Ok Computer along the way, and understood the dynamic trichotomies of beauty, brain, and aggression inherent in both. I know next to nothing about Stephen and David Wade, George Patrick, or Scott Schaafsma (and Simon Hunt) other than that they had a 2002 debut EP I really need to get. But after playing their LP so much, I might write them a fan letter (and see if the slipper fits). With music of this striking power right under our noses, the rest of America rock and its overwhelming mediocrity just lost its excuse."
...An impressive opening effort
author: http://fufkin.comMagnus -- Sleepwalker (Nefarious): This Chicago band is not lacking for ideas, and their debut album illustrates a guiding sensibility and a sense of exploration on a batch of memorable, well-executed songs that are tailor made for quality college radio stations. This five piece band is not afraid to layer on copious amounts of guitars. However, they have mastered dynamics and subtlety, so that the explosions, like the cacophonous finale to "Next to Nothing", are fully felt. The midpoint of the album, "Inside Out", is a testimony to the sophistication of the band's approach. The song starts off with some mellow acoustic guitar and some jazzy accents on electric piano, sounding like a cross between Pink Floyd and The Zombies. As the lead vocal comes in and the melody is established, the song builds in intensity. More guitars pile into the mix, as the melody bends into a slightly different direction, leading into the refrain and then culminating in a maelstrom of guitar noise...fading back into the verse. A quiet interlude, another refrain and then a blistering guitar solo that sends chills up the spine. Excellent, as some old school psychedelic influences are transformed into powerful modern rock. The band's big guitar sounds at times merit comparisons to shoegazers and My Bloody Valentine acolytes, while their consistent songwriting brings to mind a host of college radio friendly rockers like The Lassie Foundation, Tiara and New Radiant Storm King. So the band is equally at home with a warm enveloping epic like the title cut, or more intimate pieces like "Awake". An impressive opening effort. magnusmusic.net.