Colorado songwriter mixes obscenity and emotional heft with huge pop melodies
London Camden Falcon
Listen closely and echoes of [a]Talk Talk[/a], [B]Icicle Works[/B] and [B]Aztec Camera[/B] begin to resonate beneath their shoe-gazey fuzz and high-strung melodies...
Everything else about Oslo, however, is dead serious. Many of their songs meditate on emotional distance, icily distilling the countless ways that love can sour. Bryan's voice is half Bono snarl, half wavering Yorke falsetto, and he comports himself like a young Elvis Costello, clutching his guitar as if it was a belligerent entity to be wrestled into twitchy submission.
Each song springs forth with brazen lucidity, a kaleidoscopic world unto itself. 'Talk To Feet' is a dazed shuffle built around a repeated piano phrase that unravels backwards through an avalanche of stuttering drums, while 'She's So Strange' is all angular guitar poses and hyperactive harmonies.
If there's a common thread through all this sonic shape-shifting, it's an insidious love of early-'80s post-punk pop. Listen closely and echoes of Talk Talk, Icicle Works and Aztec Camera begin to resonate beneath their shoe-gazey fuzz and high-strung melodies. Only one EP into their career, and already Oslo have struck a fine balance between brooding intensity and giddy pop. Keep an eye on them.
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