When we encounter new music, a limited number of responses can be expected. There are bands you'll hate immediately, bands that take some getting used to and bands that immediately earn their place on the top shelf of your music collection. The Channel falls in the latter category. Their melodies are so warmly enveloping that it doesn't take long to be hooked by Personalized.

The abbreviated intro track, "Depersonalized", is a good start. Its skittering electronic beats, thundering piano chords and reverbed guitar are the perfect introduction to The Channel's sunny electropop. By the time the title track -- second in the lineup -- begins, you're not only prepared for psych-lite retro pop a la The Beach Boys, you're actually craving it.

A knack for writing catchy vocal melodies is the most notable of The Channel's numerous talents. Each of Personalized's tracks seems to unfold naturally, as if every note was inevitable. "June" pairs a meandering vocal line with choruses of la-la-las, while "Follow You" combines male-female harmonies in a delicate mix. The projected warmth makes it impossible not to sing along; in fact, the vocals are so ingratiating, you'll likely be humming these songs long after the record ends.

Of course, rich vocals alone don't make a great record. Fortunately, The Channel backs up their harmonizing with impressive songwriting. "Inhibition" is a nearly perfect composition, pairing western shuffle with pop glitz, fiddle with electric guitar. Instrumentally, Personalized could only be considered eclectic; The Channel never shies away from accessorizing with whatever tools are at their disposal, from banjo to xylophone, harmonica to handclaps. Far from being slipshod, such additions add texture and depth to the basic guitar/bass/drums lineup. The Channel also earns recording and mixing cred for achieving that much-sought-after-but-rarely-actualized "classic pop" aesthetic.

Although not officially inducted, Personalized should easily earn The Channel a place amongst the dormant Elephant 6 collective. They're as melodic as Neutral Milk Hotel, as retro as Essex Green and as rockin' as Beulah. Above all, they've demonstrated their most important qualification: the ability to write undeniable pop gems.
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Smile for me once pretty baby.  Very clever.  The first track is an instrumental called “depersonalized” followed by track two called… you guessed it “personalized” with vocals.  And let me tell you it was all good from beginning to end.  It was one of the most non hybrid, hybrid records I’ve ever heard.  Beautiful music.  It was pure, perfect, consistent, and simple. (3.7 out of 4)
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Rating: 9/10
You know that great feeling you get when you finally complete a really hard crossword puzzle? I'm talking New York Times Friday crossword puzzle. It feels great, doesn't it? It's that feeling of accomplishment doubled with the (let's face it) feeling of surprise at ourselves for actually being able to do it. It is one of the nicest feelings in the world, and if you've never experienced it, you should really give it a try; you won't find that feeling anywhere else, and I've never found anything to compare it to - until now. I got that same feeling the first time I listened to this, the second full-length record from The Channel. Right from the opening static and keyboards of "Depersonalized," I was completely hooked and there was no letting go. What came after those opening seconds was the stuff of legends. The album starts off light, with light keyboards and a very faint drum beat hiding behind the wall of static, then the beat kicks in and the fuzzy bass follows and we've got magic in our ears. 

These guys manage to blend electro, psychadelica and pure pop so seamlessly, it seems impossible. It's almost hard to believe my ears, even after repeated listens. It's like listening to the Olivia Tremor Control waste a holiday weekend in their basement with the Beta Band. They even manage to add in a country twinge on the danceable "Inhibition," a lovely Beatlesque ode to "June," and a spot-on cover of the Will Oldham classic "Black." I usually frown upon covers on studio albums, but this one is making me change my stance. 

For fans of The Flaming Lips, The Elected, of Montreal and the aforementioned outfits, Olivia Tremor Control and The Beta Band, this record will not disappoint. Most of the songs on this record could easily stake their claim in the Song of the Year running, and I wouldn't be surprised if at least one of them winds up in my top 5. So when this Friday rolls around, and you turn to the crossword puzzle in the Times, put this record on. It can only help. Trust me, you need this record.
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*EDITORS PICK*  Originally formed by brother Brent and Colby Pennington in the late ‘90’s, The Channel saw its share of break-ups and studio recordings. Recently reformed and revitalized along with help with former members of the Austin, Texas-based band The Arthurs, The Channel progressively seeks to destroy the typical notion of indie pop for a sound somewhere between the Beach Boys and Belle and Sebastian. It’s quite invigorating and certainly fresh—like fresh sushi at the best sushi shop in town—and is going to harmonize their way to music heaven.
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