Sometimes it happens that veteran musicians mature without losing the vitality and daring that made them notable in the first place.
If you’ve been following independent music for some years, you might have heard of Scott McCloud and Alexis Fleisigs’ last band together, GIRLS AGAINST BOYS.
The albums speak for themselves starting with the acclaimed classic „Venus Luxure No. 1 Baby” (1993, Touch & Go).
McCloud started PARAMOUNT STYLES with the release of „Failure American Style” in 2008, after a five-year hiatus from music.
And that was all good and well. But for this band, things are about to change. Cycle/Konkurrent is proud to announce the release of Paramount Styles’ second album, „Heaven’s Alright”, and confounding all expectations this is the kind of album you make only once in a lifetime: It’s a musical breakthrough.
The opening track „Take Care of Me” sets the tone, combining dirty drums and bass propelling a wall of swirling electronics, cello and strings.
„Amsterdam Again” is first class songwriting, relating true stories of touring life with the sort formidable restraint that only experience can bring.
„The Greatest,” is a perfectly crafted dark pop gem, with light streaming through the ceiling.
Of the ten songs here, any could have been album openers. „Desire Is Not Enough” and „White Palaces” bristle with the same sinister undercurrent that made GIRLS AGAINST BOYS a force to be reckoned with, and the final slow burn crescendo of „Come to Where You Are,” recorded live and peaking at over 6 minutes, is a noisy wave of surprising beauty.
McCloud (guitar/voice) and Fleisig (drums) recorded the album at Stratosphere Sound in New York with producer/engineer and fellow musician Geoff Sanoff, whose previous work has included stints with Lloyd Cole, Television, Nada Surf, and Secret Machines, among others (and even a Grammy nomination if you care to know).
Heaven’s Alright hosts an array of fine musicians: Julia Kent (Antony and the Johnsons), Simon Lenski (DAAU) and Andrea Serrapiglio (Evangelista) to name a few.