A collection of songs and nonsense: 'Miniature audiences', the follow-up to the 2006 self-titled debut from Portland's definitively undefinable noise makers, has picked up right where the band's prior album left off. On the opening track, 'On the Opposite ', parts interplay with each other, creating a dizzying cycle of starts and stops. The rock barrage continues until track four, the haunting 'I'm Alright, I'm in Heaven Tonight', which presents the listener with a gentle reminder; 'and I wanted to be the last time'. The middle of the album turns the mosh-pit into a dance floor, albeit each song with uniquely different attitudes and dress codes. 'Jim Abbott' captures the same wild abandon of early Nirvana or Refused, complete with hand claps and plenty of trash talking. 'This Fire' takes the flannel and adds overalls and moonshine to create a rowdy cow-punk square-dance, with mandolin courtesy of Sneakin' Out's Dave Gerow. 'The Arc' brings back the thrash swagger of early Prick and the Burn songs such as 'Delicious', however this time the bass runs in circles as the distorted guitar wails out under thundering cymbals, generating a happily anthemic moment. The grooving continues along with 'Nadia', a track that is defined as much by the lyrical content as the funky bass lines provided by former bassist Caleb Selman. Recorded in two different sessions in 2007 and 2008 at Miracle Lake Studios by Skyler Norwood (Pt. Juncture, WA; Blind Pilot, talkdemonic), 'Miniature Audiences' shows the group's rock roots while exploring a more dense sound and diverse song-writing approach. While the debut album provided few breaks from the aggressive sound, the follow-up is an entire album listen, with cultural sound-bites from various decades as well as mandolin, ukulele and guest vocals. After being delayed for almost two years, we are proud to present the second chapter.
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