6/26/2023 0 Comments Rugrats party animals![]() And it's like, how am I ever gonna get a part like that. (Imitating baby noises).ĬHASE: And there were 600 women also doing the same thing.ĬHASE: (Imitating baby noises). I mean, when my agent set me up for that, I tried - I was doing the baby voice. ![]() Thank you, Jonathan.ĮISENBERG: Cheryl, I know that one of your early voice gigs was the voice of the baby in the 1987 Diane Keaton movie, "Baby Boom."ĬHASE: Yeah. Cheryl, Nancy, welcome to ASK ME ANOTHER.ĬARTWRIGHT. You also know Nancy as the voice of Bart Simpson. And Nancy Cartwright plays the nervous 2-year-old Chuckie Finster. As a whole, Lurid Glow radiates a liveliness and immediacy that show Reptar have improved upon Body Faucet’s indie-by-numbers template by painting out of the lines.Our next guests voice characters on the Paramount+ reboot of "Rugrats." Cheryl Chase plays the mean 3-year-old Angelica Pickles. These two tracks offer irresistible tones of the bright sonic color from which the album gets its name. Ulicny’s delivery, unruly and bare, has never been more impassioned, the band’s sound never closer to a surefire hit. With its ache for midnight passion (“Language disappears/The nape of your neck”) and a shimmering guitar that recalls the Cranberries’ “Linger,” it’s the type of song that can make you smile and cry at the same time. “Every Chance I Get” only solidifies this attachment. ![]() Once the horns emerge for a gentle climax, there’s no way around Lurid Glow getting under your skin. The spare marimbas that open “Amanda” are a sudden and welcomed change of pace, but when Ulicny repeats the simple chorus of “Do you love me?,” his lived-in yearning is palpable. Hidden in the middle are the two most moving songs Reptar have ever written, both revealing a vulnerability only hinted at by Body Faucet’s “Ghost Bike” and lovely closer “Water Runs.” What makes Lurid Glow such a surprisingly compelling listen however, is what sets it apart the most from its predecessor. “Particle Board” begins as a jittery study on loneliness before succumbing to an expansive elastic groove. ![]() When Reptar do indulge in longer cuts it’s less about keeping the same thing going and more about exploring something new. This makes tracks like “Cable,” a thunderous stunner of horns, driving guitar and growls, stay just as catchy upon repeated listens without tiring out. Producer Andy LeMaster (Bright Eyes, Michael Stipe) expands upon Body Faucet’s intoxicating energy by refining the five plus minute sprawls down to briefer, more effective jolts of under four. Although with Ulicny’s erratic vocals and their world rhythms the band can’t shake the Vampire Weekend comparisons (“Easier to Die” would fit snugly on Contra), Reptar seem more comfortable as the artsy party animals to Ezra Koenig’s band of Ivy Leaguers. Recorded between day jobs, in Athens, over a period of two years, Lurid Glow is a polished set of sleek, fully constructed tunes that range from Roxy Music bombast (“Ice Black Sand”), neo-psychedelics (“Breezy”) and glistening electronica (“Particle Board”). “Had a maturation,” vocalist/guitarist Graham Ulicny sings in the opening line, and what’s immediately apparent is the firm confidence of a group – which also includes William Kennedy, keyboards Andrew McFarland, drums and Ryan Engelberger, bass – who’s taken time to make a record it’s proud of. Yet with the release of followup Lurid Glow, Reptar suddenly seem very suitable to do just that. While it’s unclear whether a mightier first statement was farther up their sleeves, the inescapable highlights, with track names such as “Orifice Origami” and “Houseboat Babies,” suggested that Reptar were there for the very same reason as their college audience.įit for mix tapes and festivals, it’s not a stretch to enjoy the quartet’s music, a blast of bright eccentricity, major keys and eternal summer but when they’re compared to the likes of MGMT, Passion Pit and Yeasayer, it’s hard to compete. Granted, the album was a bit spotty, overlong and mostly a rehash of indie staples, but the newcomers were plagued with little studio experience and a disinterested label – not to mention given only a month to record and mix. show, a little too seriously upon the release of their debut, 2012’s Body Faucet. Perhaps critics took Reptar, the Athens, GA quartet named after the toy dinosaur from a 90s Nickelodeon T.V.
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