LAIKA
Silver Apples of the Moon
Boomkat Product Review:
One of the best experimental pop albums of the 1990s, Laika's debut album is an alchemical fusion of post-rock, trip-hop and avant-garde electronics that's essential whether you're into Broadcast, Seefeel, Leila, or Bark Psychosis.
We're not sure why "Silver Apples of the Moon" isn't more highly regarded. Critically acclaimed when it was released in 1994, it captured the era's high-minded experimental outlook, crossing the wires of various outlying structures and braiding them into smart, focused almost-pop. Laika emerged from the ashes of post-rock band Moonshake; Chicago born singer Margaret Fiedler and engineer Guy Fixsen (who helped produce MBV's "Loveless") split from the band to form their own outfit, bringing bassist John Frenett and adding drummer Lou Ciccotelli from Kevin Martin's God and saxophonist Louise Elliot. Their music was so anxiously ahead of its time that it still sounds deeply unusual - where else might you find a record that grabs just as much inspiration from Jon Hassell as it does Bark Psychosis's "Scum" and Miles Davis's rhythmic marvel "On the Corner"?
Fiedler's vocals are the glue that holds "Silver Apples of the Moon" together, but the band's creative, genre-fluxing instrumentation is the glitter. 'Marimba Song' is still jaw-droppingly effective - it's a pop song on the surface, but the creative cocoon is assembled from so many divergent elements it's tough to work out exactly how they achieved it. Hassell's fourth world glimmer is nodded to wholeheartedly with the startling electro-acoustic instrumentation, but it's not only that - charcoal-burnt electronic drums and zonked synth sequences offer a glance at Delia Derbyshire and the Radiophonic Workshop, while off-tempo flute loops curve gentle British psychedelia with daisy age rap enthusiasm. And this is only a casual example, you can almost pick any track and find something exceptional: 'If You Miss' with its Broadcast-level tainted oscillations and whimsical exotica, the wonked post-PIL punk-funk of '44 Robbers', or the jagged Miles x Suicide weirdness of 'Thomas'.
Few albums stand the test of time like "Silver Apples of the Moon" and if you've somehow lived your life without coming across it, now's the time to get yerself acquainted. Golden, from beginning to end.
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Boomkat Product Review:
One of the best experimental pop albums of the 1990s, Laika's debut album is an alchemical fusion of post-rock, trip-hop and avant-garde electronics that's essential whether you're into Broadcast, Seefeel, Leila, or Bark Psychosis.
We're not sure why "Silver Apples of the Moon" isn't more highly regarded. Critically acclaimed when it was released in 1994, it captured the era's high-minded experimental outlook, crossing the wires of various outlying structures and braiding them into smart, focused almost-pop. Laika emerged from the ashes of post-rock band Moonshake; Chicago born singer Margaret Fiedler and engineer Guy Fixsen (who helped produce MBV's "Loveless") split from the band to form their own outfit, bringing bassist John Frenett and adding drummer Lou Ciccotelli from Kevin Martin's God and saxophonist Louise Elliot. Their music was so anxiously ahead of its time that it still sounds deeply unusual - where else might you find a record that grabs just as much inspiration from Jon Hassell as it does Bark Psychosis's "Scum" and Miles Davis's rhythmic marvel "On the Corner"?
Fiedler's vocals are the glue that holds "Silver Apples of the Moon" together, but the band's creative, genre-fluxing instrumentation is the glitter. 'Marimba Song' is still jaw-droppingly effective - it's a pop song on the surface, but the creative cocoon is assembled from so many divergent elements it's tough to work out exactly how they achieved it. Hassell's fourth world glimmer is nodded to wholeheartedly with the startling electro-acoustic instrumentation, but it's not only that - charcoal-burnt electronic drums and zonked synth sequences offer a glance at Delia Derbyshire and the Radiophonic Workshop, while off-tempo flute loops curve gentle British psychedelia with daisy age rap enthusiasm. And this is only a casual example, you can almost pick any track and find something exceptional: 'If You Miss' with its Broadcast-level tainted oscillations and whimsical exotica, the wonked post-PIL punk-funk of '44 Robbers', or the jagged Miles x Suicide weirdness of 'Thomas'.
Few albums stand the test of time like "Silver Apples of the Moon" and if you've somehow lived your life without coming across it, now's the time to get yerself acquainted. Golden, from beginning to end.
Boomkat Product Review:
One of the best experimental pop albums of the 1990s, Laika's debut album is an alchemical fusion of post-rock, trip-hop and avant-garde electronics that's essential whether you're into Broadcast, Seefeel, Leila, or Bark Psychosis.
We're not sure why "Silver Apples of the Moon" isn't more highly regarded. Critically acclaimed when it was released in 1994, it captured the era's high-minded experimental outlook, crossing the wires of various outlying structures and braiding them into smart, focused almost-pop. Laika emerged from the ashes of post-rock band Moonshake; Chicago born singer Margaret Fiedler and engineer Guy Fixsen (who helped produce MBV's "Loveless") split from the band to form their own outfit, bringing bassist John Frenett and adding drummer Lou Ciccotelli from Kevin Martin's God and saxophonist Louise Elliot. Their music was so anxiously ahead of its time that it still sounds deeply unusual - where else might you find a record that grabs just as much inspiration from Jon Hassell as it does Bark Psychosis's "Scum" and Miles Davis's rhythmic marvel "On the Corner"?
Fiedler's vocals are the glue that holds "Silver Apples of the Moon" together, but the band's creative, genre-fluxing instrumentation is the glitter. 'Marimba Song' is still jaw-droppingly effective - it's a pop song on the surface, but the creative cocoon is assembled from so many divergent elements it's tough to work out exactly how they achieved it. Hassell's fourth world glimmer is nodded to wholeheartedly with the startling electro-acoustic instrumentation, but it's not only that - charcoal-burnt electronic drums and zonked synth sequences offer a glance at Delia Derbyshire and the Radiophonic Workshop, while off-tempo flute loops curve gentle British psychedelia with daisy age rap enthusiasm. And this is only a casual example, you can almost pick any track and find something exceptional: 'If You Miss' with its Broadcast-level tainted oscillations and whimsical exotica, the wonked post-PIL punk-funk of '44 Robbers', or the jagged Miles x Suicide weirdness of 'Thomas'.
Few albums stand the test of time like "Silver Apples of the Moon" and if you've somehow lived your life without coming across it, now's the time to get yerself acquainted. Golden, from beginning to end.
Boomkat Product Review:
One of the best experimental pop albums of the 1990s, Laika's debut album is an alchemical fusion of post-rock, trip-hop and avant-garde electronics that's essential whether you're into Broadcast, Seefeel, Leila, or Bark Psychosis.
We're not sure why "Silver Apples of the Moon" isn't more highly regarded. Critically acclaimed when it was released in 1994, it captured the era's high-minded experimental outlook, crossing the wires of various outlying structures and braiding them into smart, focused almost-pop. Laika emerged from the ashes of post-rock band Moonshake; Chicago born singer Margaret Fiedler and engineer Guy Fixsen (who helped produce MBV's "Loveless") split from the band to form their own outfit, bringing bassist John Frenett and adding drummer Lou Ciccotelli from Kevin Martin's God and saxophonist Louise Elliot. Their music was so anxiously ahead of its time that it still sounds deeply unusual - where else might you find a record that grabs just as much inspiration from Jon Hassell as it does Bark Psychosis's "Scum" and Miles Davis's rhythmic marvel "On the Corner"?
Fiedler's vocals are the glue that holds "Silver Apples of the Moon" together, but the band's creative, genre-fluxing instrumentation is the glitter. 'Marimba Song' is still jaw-droppingly effective - it's a pop song on the surface, but the creative cocoon is assembled from so many divergent elements it's tough to work out exactly how they achieved it. Hassell's fourth world glimmer is nodded to wholeheartedly with the startling electro-acoustic instrumentation, but it's not only that - charcoal-burnt electronic drums and zonked synth sequences offer a glance at Delia Derbyshire and the Radiophonic Workshop, while off-tempo flute loops curve gentle British psychedelia with daisy age rap enthusiasm. And this is only a casual example, you can almost pick any track and find something exceptional: 'If You Miss' with its Broadcast-level tainted oscillations and whimsical exotica, the wonked post-PIL punk-funk of '44 Robbers', or the jagged Miles x Suicide weirdness of 'Thomas'.
Few albums stand the test of time like "Silver Apples of the Moon" and if you've somehow lived your life without coming across it, now's the time to get yerself acquainted. Golden, from beginning to end.
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