Be Glad These Mittens Have Strings - You'll Want To Keep Them Close
Chicago group offers a solid sophomore release: Let’s Go to Baba’s
Mittens On Strings
Let's Go To Baba's
Released on Oct 06, 2009
There are a couple of things that I love—Chicago, grandiose music, and mittens. By George, it looks like Chicago outfit Mittens On Strings manages to hit all three! Put this band on your “Need to Listen to Them Now Before They Get Huge” list. If their conversely accessible and eccentric debut album is any indication, they’ll be quite popular very soon.
Self-described as “children of the ‘90s,” the band’s sound certainly reflects that. There’s a definite lo-fi quality to some of their tracks, and a wry outlook that characterizes their lyrics and begs for multiple listens to get the whole story. These traits are especially apparent on “Lou Reed Says” and “Big Brother,” two clever tracks near the end and the beginning of the album, respectively. Mittens on Strings aren’t just another lo-fi flash in the pan, though—the harmonies on “Hearts and Minds,” the rollicking interlude on “Flaming Pig,” and the sing-along at the end of “A Mountain of Light” forbid that from occurring.
It can be difficult at times for male/female harmonies to sound intimate when backed by a full band. Thanks to the relative softness of the two voices on “Hearts and Minds” though, it sounds like they are just singing to one another, and you’re lucky to be eavesdropping. “Flaming Pig” doesn’t sound as intimate—these lyrics are about as silly as the band allows themselves to write—but the use of strings to ramp up the sound of the track is a smart move. It immediately adds depth while making the song stand out amidst other, more traditional sounding songs on the album.
I’ve got to give “A Mountain of Light” all the praise—it’s the best song they’ve got to offer. It’s also their longest, which bodes well for the band in my mind. I’ve said it before, and I’ll say it again: I’m a huge proponent of longer tracks when they’re done well—i.e., they manage to entertain for the entirety of the song. The plucked notes at the beginning of the track naturally build the tension, and there’s no better way to resolve it than to have loud refrains and a group sing-along at the end. The best part about the group vocal section is the obvious imperfection—most of the voices sound strained and slightly out-of-tune. But instead of cringing, the mismatched tones created such excitement in the song and in me; I couldn’t help but scream along with them.
High point: Their willingness to go beyond the ‘90s sound they cite as an influence—they don’t limit themselves, and that makes for a versatile, interesting album.
Low point: Difficult to say, truly. “Fireball’s Revenge” is a touch on the boring side, but even that criticism is pushing it. Get your hands on this album, OK?
High Point
Their willingness to go beyond the ‘90s sound they cite as an influence—they don’t limit themselves, and that makes for a versatile, interesting album.
Low Point
Difficult to say, truly. “Fireball’s Revenge” is a touch on the boring side, but even that criticism is pushing it. Get your hands on this album, OK?
Posted by Alyssa Vincent on Oct 08, 2009 @ 7:00 am
