It's not difficult to love Melomane. You'll love songs that feature on the vibes live-from-the-tiki-lounge chord progressions played at slinky tempos. You'll love tracks that are arranged deliberately, yet played with an amiable looseness and allowed to amble forward like Lou Barlow singing a Tindersticks song. You'll love the male/female vocals, the emotionally charged cello parts, the honey-toned, minimal guitar figures and lyrics such as, "You fell asleep with a beautiful smile on your face / Under weeping vines on a pauper's grave." But the Melomane are at their best when most tender and relaxed; the six musicians play lovely, understated, articulate melody/harmony lines. This sort of spaciousness keeps the mix from sounding crowded and protects important song elements from becoming overshadowed by trigger-happy players. 
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Melodic, chamber pop/rock, with an emphasis on songwriting, fleshed out with diverse instrumentation, including, cello, vibes, trumpet and electronic sounds.
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Melomane - Resolvo
One line sums up why I like these songs so much: "I'm just a modern day Dean and Gene Ween on the rock and roll trail." And that accurately summarizes (this recording.) It's hard to say what Melomane is; it's much easier to say what it isn't. You can kick heavy metal and rap out from the start; if I have to make a comparison, I'll start with the Silver Jews and also nod to Pavement in their more introspective, C&W moments. These songs search for deeper transcendental meaning in music - the kind of meaning that Pavement and Yo La Tengo, among other bands, have tried to find in the wilds of three chords and red guitars - and stamp out stylistic chalk lines with their feet along the way. 
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