Surely the closest Kranky are likely to get to a straight-up rock band, Chicago's Disappears could probably comfortably rub shoulders with the likes of Wooden Shjips and other such space-rock devotees. Thus far the band has self-released a clutch of material: two singles and a limited live album, making this new Kranky album their first 'official' (whatever that even means anymore) release. 'Gone Completely' might just have you dreaming up a sludge-rocking, Stooges-loving version of fellow Kranky-ites Deerhunter, but then Lux goes on to provoke a number of comparisons: there's the Motorhead-goes-shoegaze steady-chugging riffage of 'Pearly Gates', while 'Marigold' evokes images of Mark E. Smith fronting Spacemen 3. In fact, it's messrs Pierce and Kember to whom Disappears probably owe the biggest debt, and on Lux the band go someway toward refining the art of druggy, motorik rock music for 21st century ears.
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Surely the closest Kranky are likely to get to a straight-up rock band, Chicago's Disappears could probably comfortably rub shoulders with the likes of Wooden Shjips and other such space-rock devotees. Thus far the band has self-released a clutch of material: two singles and a limited live album, making this new Kranky album their first 'official' (whatever that even means anymore) release. 'Gone Completely' might just have you dreaming up a sludge-rocking, Stooges-loving version of fellow Kranky-ites Deerhunter, but then Lux goes on to provoke a number of comparisons: there's the Motorhead-goes-shoegaze steady-chugging riffage of 'Pearly Gates', while 'Marigold' evokes images of Mark E. Smith fronting Spacemen 3. In fact, it's messrs Pierce and Kember to whom Disappears probably owe the biggest debt, and on Lux the band go someway toward refining the art of druggy, motorik rock music for 21st century ears.
Surely the closest Kranky are likely to get to a straight-up rock band, Chicago's Disappears could probably comfortably rub shoulders with the likes of Wooden Shjips and other such space-rock devotees. Thus far the band has self-released a clutch of material: two singles and a limited live album, making this new Kranky album their first 'official' (whatever that even means anymore) release. 'Gone Completely' might just have you dreaming up a sludge-rocking, Stooges-loving version of fellow Kranky-ites Deerhunter, but then Lux goes on to provoke a number of comparisons: there's the Motorhead-goes-shoegaze steady-chugging riffage of 'Pearly Gates', while 'Marigold' evokes images of Mark E. Smith fronting Spacemen 3. In fact, it's messrs Pierce and Kember to whom Disappears probably owe the biggest debt, and on Lux the band go someway toward refining the art of druggy, motorik rock music for 21st century ears.
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Surely the closest Kranky are likely to get to a straight-up rock band, Chicago's Disappears could probably comfortably rub shoulders with the likes of Wooden Shjips and other such space-rock devotees. Thus far the band has self-released a clutch of material: two singles and a limited live album, making this new Kranky album their first 'official' (whatever that even means anymore) release. 'Gone Completely' might just have you dreaming up a sludge-rocking, Stooges-loving version of fellow Kranky-ites Deerhunter, but then Lux goes on to provoke a number of comparisons: there's the Motorhead-goes-shoegaze steady-chugging riffage of 'Pearly Gates', while 'Marigold' evokes images of Mark E. Smith fronting Spacemen 3. In fact, it's messrs Pierce and Kember to whom Disappears probably owe the biggest debt, and on Lux the band go someway toward refining the art of druggy, motorik rock music for 21st century ears.
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Surely the closest Kranky are likely to get to a straight-up rock band, Chicago's Disappears could probably comfortably rub shoulders with the likes of Wooden Shjips and other such space-rock devotees. Thus far the band has self-released a clutch of material: two singles and a limited live album, making this new Kranky album their first 'official' (whatever that even means anymore) release. 'Gone Completely' might just have you dreaming up a sludge-rocking, Stooges-loving version of fellow Kranky-ites Deerhunter, but then Lux goes on to provoke a number of comparisons: there's the Motorhead-goes-shoegaze steady-chugging riffage of 'Pearly Gates', while 'Marigold' evokes images of Mark E. Smith fronting Spacemen 3. In fact, it's messrs Pierce and Kember to whom Disappears probably owe the biggest debt, and on Lux the band go someway toward refining the art of druggy, motorik rock music for 21st century ears.