What The Critics Say
The German word for "sound," Klang is a fitting title for the Rakes' third album -- and not just because the band recorded it in Berlin. These songs have a lot more sound to them than the relatively muted Ten New Messages, and the bandmembers turn up the volume on their emotions as well: "You're in It"'s jerky rock kicks off the album with the pungent refrain "Sometimes you can't smell the shit till you're in it," and as singer Alan Donohoe pours out his raging id, singing about sex and drugs and being in hell in a stream-of-consciousness smear, he sounds as wound up here as he sounded deadpan on the band's previous album. In fact, a lot of Klang feels like a direct reaction to Ten New Messages' more studied sound, especially on more unhinged moments like "Shackleton," another high-strung rant. Collaborating with producer Chris Zane (who has also worked with Les Savy Fav) inspired the Rakes to rock just as hard as they did in their early days, but with more precision: several of these songs could have appeared on Capture/Release, especially the "Strasbourg"-esque rave-up "The Final Hill" and "Bitchin' in the Kitchen," a sharply observed track about hanging out in the kitchen at parties that plays like a sequel to "Retreat." No matter how much the Rakes tinker with their sound, smoking, drinking, working, and going out are still the guideposts of their world, along with Donohoe's world-weary wit, which is especially trenchant on the paranoid, slightly self-loathing "The Loneliness of the Outdoor Smoker" and "That's the Reason." And while the single "1989" is Rakes-shaped enough to reassure longtime fans that the band isn't changing too drastically, it doesn't just stay in a poppy punk comfort zone. The band attempts some adventurous storytelling as Klang comes to a close, particularly on the charmingly awkward love song "The Light from Your Mac" and "Muller's Ratchet," a wry complaint from a father to his lazy son. "No one here likes a smart-arse," Donohoe sings, but the Rakes are smart enough to try new things with each album, and Klang's sharp guitar pop balances their previous directions with flair. ~ Heather Phares, All Music Guide
What The Critics Say
One of the few new wave/post-punk-inspired bands that keep their albums as concise as their influences did, the Rakes move even farther away from their gloriously raw early singles on Ten New Messages than they did on their first album, Capture/Release. This cleaned-up, slightly subdued sound puts the focus on the Rakes' melodies and lyrics, and for the most part, the band is up to the challenge: "Little Superstitions"' earnest pop shows a newfound sophistication, while "Trouble" and "We Danced Together" only let spurts of punk energy out during the choruses. In fact, one of the songs that sounds the most like their beginnings is actually the most lyrically complex: "Suspicious Eyes" explores paranoia on the morning commute, moving from merely feeling awkward to terrorist fears to feelings of racial discrimination as singer Alan Donohoe, a female vocalist, and an Asian rapper each take a verse. Sonic changes and social consciousness aside, Ten New Messages shows that the Rakes still have the wit that made their first single "22 Grand Job" a standout. Donohoe is a compelling vocalist with an intriguing mix of literate, grown-up smarts and sardonic punk wit, whether he's singing about keeping "the night from falling to pieces" on the Krautrock-tinged "The World Was a Mess But His Hair Was Perfect" or downed networks and dysfunctional relationships on "When Tom Cruise Cries." At times, the risk the Rakes take on slower tempos and subtler sounds doesn't always pay off -- songs like "On a Mission" and "Down with Moonlight" show how much their more dynamic approach is missed. Even if Ten New Messages doesn't offer as much instant gratification as Capture/Release did, it's still an admirable and mostly successful refining of the Rakes' music. ~ Heather Phares, All Music Guide
