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Dutch Uncles
Out of Touch in the Wild (Memphis Industries)

02/07/13
By Eric Saeger news@hippopress.com



2/7/2013 - Third full-length attempt from this tough-to-classify U.K. band.  One of the “RIYL” nods is to King Crimson, a band that really has nothing to do with this, regardless of there being a mild amount of progressive sound to it (“Threads” wraps up with a 7/8 time signature one might associate with old-time arena-proggers Kansas). Overall they’re quite a bit like Minus The Bear with Supertramp’s vocals — lots of choppy bonk-bonk guitar (wait, I think I was supposed to say “angular” there, wasn’t I?), symphonic synths playing along in pretty wetworks, bony xylophone-like fractal ideas right out of Yes’s 90125 album. It’s involved, tight stuff — how does “twee-prog” look? — that’s aware of what decade it is (“Flexxin” reaches out to the Arcade Fire patrol). My favorite blog comment is from one of the band’s fellow Brits, a BBC 6-hater who chastised the band for wimpiness:  “get a [censored] grip, we are in a Tory austerity era, [censored] act accordingly.”  I’d drink to that to some extent — get ready for a giant wave of ’80s-techpop from the U.K. — but that commenter wouldn’t survive a weekend in any of the U.S. dorms of today. Compared to most of the Ritalin-goofball indie garbage Brooklyn keeps blapping out, these guys are Metallica. A





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