An Adulty Adipisci is a eight song collection of tales of adult experience such as having children, feeling love, and enjoying a good drunk drive home. This is the seventh TASM Lab album, and like its predecessors, it is completely different than the rest.
The spotlight on Jeff Till\'s new compositions are the harmonized vocals of Kalamazoo legend Chris Bryers (Twitch, Sleet, Owlsa, Selling Heaven, TASM\'s \"Thing and Nothing\", and now \"Hazel and the Black Rabbit\") and now Bostonite and beautiful pipette Michelle Graf (Blue Dahlia, \"Thing and Nothing\", \"The Essential Cubicle Nosepicker\", Tether).
The vocals sing gorgeous, memorable melodies in sometimes energetic sometime sullen tones. Harmonies and melodies are layered and rich, but sometimes lonely and stark.
The singing is supported by a live band of acoustic guitars, gooey del palmer-y bass, acoustic drums, live percussion, piano, and an assortment of strings, bells, choruses and even birds and atmospheric noises. The sounds with harmonies are often layered into thick walls of sonic dream, like the first track off of the Cure\'s \"disintegration\", a prettier part of MBV\'s Loveless, sometimes even feeling like an orchestra.
The songs could be compared to The New Pornographers, Sun Kil Moon, The Flaming Lips \"The Soft Bulletin\", Tori Amos albums, Burt Bacharach, Elvis Costello, Fiona Apple, Peter Gabriel, Kate Bush, The Cure, My Bloody Valentine, The Church, Prince, David Gray, Peter Yourn, Coldplay, Adam Ant. Um. Elliot Smith, Billy Bragg, The Damned\'s \"Phantasmagoria\". Maybe a bit of sixties jangle in there, um, Webber and Lloyd
Late stage Beatles or beach boys, as far as instrumentation, might not be far off.
It\'s not totally unlike TASM Lab\'s \"Essential Cubicle Nosepicker\", but there\'s a whole band this time.
You could also say it could fit into a Wes Anderson or Sophia Coppola or other art-intellectual-quirky filmmaker soundtrack. This might be the best description, because while the music is completely non-experimental and totally pop-accessible, it avoids any established genre per se, much like all of the strumming and singing you hear in the inventive songs during movies like Rushmore or Lost in Translation.
Brent Oberlin says: \"I listened to the whole album. Is this the order? Is it a concept record? I remember you playing me \"Love will Cloud\" at our visit. At times you pull-off a very good wall-o-sound/ Roy Orbison/ Bruce Springsteen-type thing with the production. All the strings, piano, and strum\'in acoustics are cool. I really like \"Army of Children\", \"Cool Water\", and \"Love will Cloud\"; plus the hickbilly/ super-outro drumfills in \"Lost in a Parking Lot\" are fun. Did you sing on anything besides \"Souced Romantics\"? MB and CB together again. I hope I haven\'t said anything that makes you taste vomit.\"
You could say it\'s related in sound/trend to Chris Bryer\'s recent \"Birds\" and \"Hazel and The Black Rabbit\" and the lighter moments of Thought Industry\'s \"Short Wave on a Cold Day\".
More and more is available on Leonstemple.com and TASMLab.com