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Celebration Albumin

‘Albumin’ – the forth album from this Baltimore group – is a waltzer ride of
a record. Within the first three songs it transforms

from the opening Nine Inch Nails-like synth stabs of ‘Razor’s Edge’ to the Hammond Organ-drenched ’60s jazz-rock of ‘Walk On’.

It’s a template that sets the tone for the rest of the record; it’s
varied but it can’t quite find out what it wants to be.

The nicely executed vocals of Katrina Ford are the one constant exception throughout, but it’s an album that gets too bogged down in trying to find its feet.

In trying to be several things at once it often results in staying put in
the middle ground of fairly uninspiring trad-rock.

Perhaps it’s something in the Baltimore air but echoes of both the Beach House and Lower Dens style

(even if Celebration pre-date both of them) can be heard floating around.

However, where the former push space and atmosphere to the forefront, ‘Albumin’ seems intent on filling every available space,

which can result in both an overwhelming and clumsy experience, such as the funk-soulwaltz hybrid of ‘Chariot’.

lmmakers. Part gangster flick, part musical, part comedy-romance, this brilliantly written, directed and acted movie tells the story of musicians Joe (Tony Curtis) and Jerry (Jack Lemmon)

who go on the run disguised as women with an all-female band, including ukulele player/singer Sugar (Marilyn Monroe),

after witnessing a mob hit (the ValentineDay Massacre).

There is a tension throughout between the old and new, the innocent and knowing, the naïve and sceptical.

On the one hand we get the roaring twenties setting, the adorably simpleminded Sugar,

and the boy meets girl love story; on the other we get world-weary protagonists,

the duplicitous Joe and Jerry, and the boy meets boy dressed as girl ‘love’ story.

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