Dear Criminals work with the gritty sounds of life. Effortlessly combining moody electronics and longing vocals the pieces have maintain a delicate balance. On one hand the songs possess a true sense of humanity akin to the hushed tones of the most intimate folk. The minimal electronics are tastefully deployed throughout the album. At times the shadowy works resemble the carefully crafted works of James Blake with a bit more companionship. Vocals come from the entire band and though they all sound lonely, they are lonely together. This togetherness gives their otherwise bleak compositions a sense of hope.
“Lover’s Suicide” opens up the album like a Beach House song bled dry of any flowery ornamentation. The rhythm consists of a steady consistent pulse. Right in the background is the ghostly presence of their guitar. When they eventually do reveal their minor flourishes it feels earned. By far the highlight of the album is the nimble “Storm”. Beginning with the smallest of gestures the piece feels incredibly intimate. From such tiny origins the piece grows organically. Here the multiple vocals work wonders. Slightly denser than “Lover’s Suicide” the piece revels in its small hooks. Rhythms are kept to an absolute bare minimum of tiny shards. Melodies are warm comforting things considering the overall sense of coldness that introduces the piece. By the end of the piece an entirely different feeling comes up, of shyness overcome and the light flooding in.
Simple and effective Dear Criminals write the kind of songs that burrow themselves deep into the mind.
Posted by Beach Sloth – http://beachsloth.blogspot.com