The Aislers Set Albums (3)
'How I Learned to Write Backwards'
Release Date 2/11/2003
Tracks 11
Label Suicide Squeeze
See Album Tracklist and Review
What The Critics Say
San Francisco-based popsters Aislers Set returned with the follow-up to 2000's The Last Match with How I Learned to Write Backwards, co-released on Suicide Squeeze and Slumberland Records. The disc was a significant departure from the band's previous works, marking a new approach to songwriting by the group's leader, singer Amy Linton. Fortunately for the band's fans, her signature voice and the band's uncanny knack for creating uniquely catchy pop hooks remained. The Motown flare of the opener, "Catherine Says," hints that the album was not going to be more of the same from the group. While bands often rest on their laurels, Aislers Set seemed determined to once again push their proverbial artistic envelope. "Emotional Lack" includes a unique ending, with the band relying on a cappella vocals, only accompanied by handclaps and Yoshi Nakamoto's brief, steady drumming. The disc really hits its stride with "Languor in the Balcony" and "Mission Bells," as the quintet shows off both its post-punk and pop sensibilities. Linton's vocals alternate between the hushed "Sara's Song" and the graceful "Through the Swells," always maintaining a subtle coyness. The band's most ambitious instrumentation is easily the pairing of "The Train #1" and "The Train #2," a meticulous and fiery set of precisely executed arrangements. Yet again, the pace falls after the frantic "The Train #2," this time with the serene "Unfinished Paintings." Aislers Set succeed yet again by the simple fact that there's no other band crafting a similar sound, not even remotely. Their signature sound is a result of Linton's musical vision, along with the refreshing input from bassist Alicia Vanden Heuvel and guitarist Wyatt Cusick. Jen Cohen adds a wealth of sounds on keyboards. "Was Either Easier" marks the orchestral ending to How I Learned to Write Backwards. The disc was recorded during 2002 at Linton's home studio and was released in February 2003. ~ Stephen Cramer, All Music Guide
What The Critics Say
The Aislers Set are caught in a pop trap of either great inspiration or cloying pretension. It's up to a listener to determine which. One thing that's certain is that the band isn't the sum of their influences. The Aislers Set frequently take a Pet Sounds detour courtesy of a path lit by His Name is Alive's Stars on ESP. "The Way to Market Station" might as well be His Name is Alive's "The Bees" with new lyrics. "The Red Door" sounds like an extract from My Bloody Valentine's Isn't Anything. "Lonely Side of Town" is a departure into the pristine pop realm mastered by the Delgados, until the track takes a psychedelic turn. The band's sound takes on the haunted air of Broadcast throughout the album. They might be considered lo-fi cousins to that band. Other songs, particularly the sweet "Chicago New York," suggest the folk-pop of Belle and Sebastian. While The Last Match is charming in small doses, the breathy female vocals do take their toll over the course of the album; it's a minor relief when Wyatt Cusick takes over vocal duties on a number of tracks. Charm and catchiness can only take an album so far; cohesion is vital for great songs to total a great album. The album suffers due to the band's style browsing. It's a problem the band shares with Belle and Sebastian, as too many songwriters spoil the overall album. Like Belle and Sebastian, the Aislers Set are better at creating individual songs than entire albums. Still, fans of energetic neo-psychedelia will find worlds of pleasure, as the album is insanely catchy in spurts. The Aislers Set suggest on The Last Match that there's a great album lurking just beyond their influences and retro desires. ~ Tim DiGravina, All Music Guide
'Terrible Things Happen'
Release Date 7/31/1998
Tracks 14
Label Slumberland
See Album Tracklist and Review
What The Critics Say
This group is essentially Amy Linton, the guitarist/drummer of the late Henry's Dress, an underground but well-liked San Francisco indie-pop act. Now on her own, she's fronting this group with members of three other Bay-area bands, though half this LP is just Linton solo. On the full-band tracks, the group claims loads of great British mod influences from the Who and Action, and further later-'60s American pop heroes. But what you hear is a woman who sounds uncannily like the Shirelles' Shirley Owens Alston singing lullabies that nicely seem at odds with the agitated, distorted but still jangly guitar sounds such 30-year-old blueprints don't mention. On the opening "Friends of the Heroes," they even add a super-silent version of Jesus & Mary Chain's white-noise throb. Otherwise, Linton's solo tracks such as "Mary's Song" sound more like a young woman out to break your heart, with a few halfhearted strums of her guitar; background tapped-drums; that purring, almost lovelorn/teary Alston-like voice; and chamber hushed, demo-production value. Nice mix all around (P.O. Box 14731, Berkeley, CA 94712). ~ Jack Rabid, All Music Guide
