22-03-2012, 12:07
online listen
Sonic Youth, maybe some Arcade Fire
nice sound
check it out
another one for my list
another stupid video with the clip
1.7 from me and a converted 1.8 from the pros at allmusic
from the album - Prozac Rock
http://www.youtube.com/watch?v=o1zeA8lZpWU
released Mar 20th, 2012
![[Image: r85459pjeba.jpg]](http://image.allmusic.com/00/amg/cov200/drr800/r854/r85459pjeba.jpg)
Bio - from allmusic
The dreamy, bittersweet music of Margot & the Nuclear So and So's is primarily the work of singer/songwriter
Richard Edwards, who formed the indie rock collective in his native Indianapolis. Named after the Margot Tenenbaum
character in Wes Anderson's sophisticated comedy The Royal Tenenbaums, the band took root in 2004, when Edwards
decided to flesh out his scenic chamber pop sound with help from guitarist Andy Fry, cellist Jesse Lee, pianist
Emily Watkins, trumpeter Hubert Glover, drummer Chris Fry, percussionist Casey Tennis, and bassist Tyler Watkins.
The band's debut album, The Dust of Retreat, was issued on the local indie label Standard Recording in 2005. The
picturesque, dozen-song set earned the band a loyal following, and Margot & the Nuclear So and So's signed with
Artemis Records later that year. A remixed and remastered version of The Dust of Retreat was released in March
2006, but a series of label acquisitions (Artemis bought V2, Virgin Records effectively absorbed the band, and
Capitol merged with Virgin) convinced the group to partner with another company instead. They relocated to the Epic
roster in October 2007 while working on their sophomore release. After tracking approximately 25 songs, however,
the band clashed with Epic over which songs to include in the final release. As a result, two versions of the album
were released: Animal!, a vinyl and digital release of the band's preferred version, and Not Animal, a traditional
CD release featuring those songs favored by the label.
After touring in support of the Animal! albums, Edwards relocated to Chicago and began pruning the band's lineup,
eventually dissolving it altogether and rebuilding it from the ground up. Margot & the Nuclear So and So's thus
became a six-piece band featuring Brian Deck on drums, Ronnie Kwasman and Erik Kang on guitar, Cameron McGill on
keyboards, and Tyler Watkins on bass. Watkins and Kang had both played in an earlier version of Margot & the
Nuclear So and So's, while the other three were Chicago-based musicians who joined the lineup in 2009. After
building a makeshift recording studio in an abandoned movie theater, the six explored a lean, rock-influenced sound
on Buzzard, which became the band's third album after its release in September 2010. In 2012 the band returned with
Rot Gut, Domestic, a stylistically adventurous album exploring more guitar driven 90's-styled rock and flirting
with country-western influences.
Album Review - from allmusic
On their fourth album, Rot Gut, Domestic (fifth if you include Not Animal as an album instead of a companion piece
to its preferred version Animal!) Chicago indie crew Margot and the Nuclear So and So's rough up the chamber pop
sound of their previous releases. The band's involvement with Brian Deck and Tim Rutili, each members of both
Califone and Red Red Meat, is apparent from the first strains of the trudging "Disease Tobacco Free." The song's
fuzzy lope is an updated take on the feedbacky slowcore of '90s bands like Codeine or Red Red Meat themselves.
Kick-off single "Prozac Rock" follows this '90s-heavy influence with a lazy sunburst of overdriven guitars and west
coast imagery that end up sounding like a happier Afghan Whigs than the overblown Arcade Fire-isms of earlier
records. There are still more than enough internet-era influences at play, however. Any band so obsessed with
filmmaker Wes Anderson that they name an album after his favorite Muppet is going to have some unshakable traces of
Radiohead, Bright Eyes, and well, Wes Anderson soundtracks. Principle songwriter Richard Edwards toys with
different approaches to this overused set of baseline influences. His random howls and interjections of manic
laughter on the drunkenly woozy "Shannon" give the song a legitimately uneasy feeling. The story-song "A Journalist
Falls in Love with Death Row Inmate #16" shakes up the album's continuity with dark lyrics over a quirky, would-be
traditional country & western song, but this over-stylized nugget in the context of a highly stylized album ends up
coming off as disingenuous kitsch. This becomes the main problem with Margot and the Nuclear So and So's. Even in
their best moments, every move feels overly calculated and wraps up so nicely that even what are intended as
unpredictable turns are pretty predictable. While the smiling-through-the-tears sentimentality of "Coonskin Cap" is
pleasant enough, its pristine pop hooks and perfectly placed emotional climaxes seem completely staged and thusly
render the song instantly forgettable. Even the more unhinged moments of cacophonous '90s-touched noise rock ("The
Devil") get compressed into tiny packages as shiny as the moody chamber pop ("Frank Left," "Christ") and the entire
album rushes by in an inoffensive blur.
Track Listing
1. Disease Tobacco Free
2. Books About Trains
3. Shannon
4. Prozac Rock
5. A Journalist Falls in Love
6. Frank Left
7. Fisher of Men
8. Arvydas Sabonis
9. Coonskin Cap
10. Ludlow Junk Hustle
11. The Devil
12. Christ
Sonic Youth, maybe some Arcade Fire
nice sound
check it out
another one for my list
another stupid video with the clip
1.7 from me and a converted 1.8 from the pros at allmusic
from the album - Prozac Rock
http://www.youtube.com/watch?v=o1zeA8lZpWU
released Mar 20th, 2012
Bio - from allmusic
The dreamy, bittersweet music of Margot & the Nuclear So and So's is primarily the work of singer/songwriter
Richard Edwards, who formed the indie rock collective in his native Indianapolis. Named after the Margot Tenenbaum
character in Wes Anderson's sophisticated comedy The Royal Tenenbaums, the band took root in 2004, when Edwards
decided to flesh out his scenic chamber pop sound with help from guitarist Andy Fry, cellist Jesse Lee, pianist
Emily Watkins, trumpeter Hubert Glover, drummer Chris Fry, percussionist Casey Tennis, and bassist Tyler Watkins.
The band's debut album, The Dust of Retreat, was issued on the local indie label Standard Recording in 2005. The
picturesque, dozen-song set earned the band a loyal following, and Margot & the Nuclear So and So's signed with
Artemis Records later that year. A remixed and remastered version of The Dust of Retreat was released in March
2006, but a series of label acquisitions (Artemis bought V2, Virgin Records effectively absorbed the band, and
Capitol merged with Virgin) convinced the group to partner with another company instead. They relocated to the Epic
roster in October 2007 while working on their sophomore release. After tracking approximately 25 songs, however,
the band clashed with Epic over which songs to include in the final release. As a result, two versions of the album
were released: Animal!, a vinyl and digital release of the band's preferred version, and Not Animal, a traditional
CD release featuring those songs favored by the label.
After touring in support of the Animal! albums, Edwards relocated to Chicago and began pruning the band's lineup,
eventually dissolving it altogether and rebuilding it from the ground up. Margot & the Nuclear So and So's thus
became a six-piece band featuring Brian Deck on drums, Ronnie Kwasman and Erik Kang on guitar, Cameron McGill on
keyboards, and Tyler Watkins on bass. Watkins and Kang had both played in an earlier version of Margot & the
Nuclear So and So's, while the other three were Chicago-based musicians who joined the lineup in 2009. After
building a makeshift recording studio in an abandoned movie theater, the six explored a lean, rock-influenced sound
on Buzzard, which became the band's third album after its release in September 2010. In 2012 the band returned with
Rot Gut, Domestic, a stylistically adventurous album exploring more guitar driven 90's-styled rock and flirting
with country-western influences.
Album Review - from allmusic
On their fourth album, Rot Gut, Domestic (fifth if you include Not Animal as an album instead of a companion piece
to its preferred version Animal!) Chicago indie crew Margot and the Nuclear So and So's rough up the chamber pop
sound of their previous releases. The band's involvement with Brian Deck and Tim Rutili, each members of both
Califone and Red Red Meat, is apparent from the first strains of the trudging "Disease Tobacco Free." The song's
fuzzy lope is an updated take on the feedbacky slowcore of '90s bands like Codeine or Red Red Meat themselves.
Kick-off single "Prozac Rock" follows this '90s-heavy influence with a lazy sunburst of overdriven guitars and west
coast imagery that end up sounding like a happier Afghan Whigs than the overblown Arcade Fire-isms of earlier
records. There are still more than enough internet-era influences at play, however. Any band so obsessed with
filmmaker Wes Anderson that they name an album after his favorite Muppet is going to have some unshakable traces of
Radiohead, Bright Eyes, and well, Wes Anderson soundtracks. Principle songwriter Richard Edwards toys with
different approaches to this overused set of baseline influences. His random howls and interjections of manic
laughter on the drunkenly woozy "Shannon" give the song a legitimately uneasy feeling. The story-song "A Journalist
Falls in Love with Death Row Inmate #16" shakes up the album's continuity with dark lyrics over a quirky, would-be
traditional country & western song, but this over-stylized nugget in the context of a highly stylized album ends up
coming off as disingenuous kitsch. This becomes the main problem with Margot and the Nuclear So and So's. Even in
their best moments, every move feels overly calculated and wraps up so nicely that even what are intended as
unpredictable turns are pretty predictable. While the smiling-through-the-tears sentimentality of "Coonskin Cap" is
pleasant enough, its pristine pop hooks and perfectly placed emotional climaxes seem completely staged and thusly
render the song instantly forgettable. Even the more unhinged moments of cacophonous '90s-touched noise rock ("The
Devil") get compressed into tiny packages as shiny as the moody chamber pop ("Frank Left," "Christ") and the entire
album rushes by in an inoffensive blur.
Track Listing
1. Disease Tobacco Free
2. Books About Trains
3. Shannon
4. Prozac Rock
5. A Journalist Falls in Love
6. Frank Left
7. Fisher of Men
8. Arvydas Sabonis
9. Coonskin Cap
10. Ludlow Junk Hustle
11. The Devil
12. Christ
