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LP
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CPR 727LP
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"Al Anon concludes Eric Copeland's two part album entitled Alien In A Garbage Dump. Where the first half offered a discombobulated collection of radio cross-signaling, here the alien finds its groove for a minute and tidies up the frequencies. There is still something outsiderish here, but with more of an effort to get inside, to play by the rules even? Or maybe the motivation is to sneak something subversive into the norms' hideout? Since Al Anon was recorded at the same time as two Black Dice albums, there are obvious parallels in the results; an uncompromised sonic landscape. But outside the group setting, Copeland has found places one can only find alone: small inner dialogues and isolated mind caves where an idea may only last a moment. He captures and tweaks these ideas into fragments of many memories; a déjà vu record déjà vu record. Funny characters drop in and out. Songs come and go. Al Anon proves to be a strangely curated time capsule of OUR time right NOW; music where birds beat-box with car-stereo subwoofers and the neighbors' Espanol sings on top the Sabbath siren. With all this going on, Copeland sometimes disappears into the anonymity, playing a 'behind-the-scenes' role, pushing cords and pulling buttons, laughing because the batteries are dying. Here the familiar becomes mysterious and the unknown feels normal and we can listen to this one all day trying to make those distinctions. Edition of 500 copies with jaw-droppingly amazing black and white collage artwork by Copeland, screenprinted by VG Kids."
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CD
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CPR 719CD
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"The Double that you hear on Palm Fronds is very different than what founding members David Greenhill and Jeff McLeod originally conceived. The band began as a guitar/drum math-rock-cum-outre-blues duo replete with intricate time signatures, multiple song sections, and an overall sense of angular complexity. But the production, drum machines, and general vibe have a wonderfully overmodulated digital crunch, plenty of echo, broken electronics and all sorts of whatsit thrown into the mix. Which is to say that all that songwriter stuff, when The Double finally let you hear it, owes a lot to a bunch of digital dub and experimental electronic types."
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