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Mice Parade - What It Means to Be Left-Handed

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What It Means to Be Left-Handed

Mice Parade

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It's a little startling to realize just how many albums Adam Pierce has released under the Mice Parade name over the years, happily pursuing his muse from the time when post-rock was a buzzword to an era when it just might be about ready to become the next retro-revival flashpoint. What It Means to Be Left-Handed shows Pierce and company continuing to embrace a variety of artistic impulses that become their own enjoyable interpretations. "Kupanda," the giddy opener featuring guest singer Somi, revels in its easy grace as well as providing a soft-landing point for both older fans and newer listeners; if it's a bit much to say it's a typical Mice Parade song, its nods to highlife guitar and hints of bossa nova ease are handled with equal adeptness. More rocked-up numbers like "In Between Times," with its shuddering start and magnificent sea shanty-paced break, a showcase for Pierce's distinct acoustic guitar sound as much as the percussion that he first became known for, and the equally breathless but flowing "Recover" have an equally immediate grace. In contrast, "Mallo Cup" might actually be too straightforward a rocker, sounding less distinct than most of the songs around it on the album and more like a bit of a Swervedriver B-side from 1993, but the piano-led "Tokyo Late Night" provides a nice contrast at capturing the paradoxical feeling of contemplative energy that defines the band. The distant, melancholic tones at the start of "Couches and Carpets" and the piano punctuating "Old Hat" are other highlights on an album that concludes with a cover of Tom Brosseau's "Mary Anne," perhaps the best aural definition of a sweet-sounding bummer around. Short pieces like the electronic tones of "Pond" and the quick shimmer of "Remember the Magic Carpet" may only be snippets but are all the more enticing for that.
© Ned Raggett /TiVo

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What It Means to Be Left-Handed

Mice Parade

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1
Kupanda
00:04:02

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

2
In Between Times
00:04:29

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

3
Do Your Eyes See Sparkles
00:03:42

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

4
Couches & Carpets
00:03:52

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

5
Pond
00:00:46

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

6
Recover
00:03:44

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

7
Old Hat
00:03:34

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

8
Mallo Cup
00:02:04

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

9
Remember the Magic Carpet
00:01:00

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

10
Even
00:01:34

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

11
Tokyo Late Night
00:02:51

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

12
Fortune of Folly
00:03:10

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

13
Mary Anne
00:04:08

Mice Parade, Composer, MainArtist

2010 Fat Cat Records 2010 Fat Cat Records

Descrizione dell'album

It's a little startling to realize just how many albums Adam Pierce has released under the Mice Parade name over the years, happily pursuing his muse from the time when post-rock was a buzzword to an era when it just might be about ready to become the next retro-revival flashpoint. What It Means to Be Left-Handed shows Pierce and company continuing to embrace a variety of artistic impulses that become their own enjoyable interpretations. "Kupanda," the giddy opener featuring guest singer Somi, revels in its easy grace as well as providing a soft-landing point for both older fans and newer listeners; if it's a bit much to say it's a typical Mice Parade song, its nods to highlife guitar and hints of bossa nova ease are handled with equal adeptness. More rocked-up numbers like "In Between Times," with its shuddering start and magnificent sea shanty-paced break, a showcase for Pierce's distinct acoustic guitar sound as much as the percussion that he first became known for, and the equally breathless but flowing "Recover" have an equally immediate grace. In contrast, "Mallo Cup" might actually be too straightforward a rocker, sounding less distinct than most of the songs around it on the album and more like a bit of a Swervedriver B-side from 1993, but the piano-led "Tokyo Late Night" provides a nice contrast at capturing the paradoxical feeling of contemplative energy that defines the band. The distant, melancholic tones at the start of "Couches and Carpets" and the piano punctuating "Old Hat" are other highlights on an album that concludes with a cover of Tom Brosseau's "Mary Anne," perhaps the best aural definition of a sweet-sounding bummer around. Short pieces like the electronic tones of "Pond" and the quick shimmer of "Remember the Magic Carpet" may only be snippets but are all the more enticing for that.
© Ned Raggett /TiVo

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