Max Lewis and Mirza Ramic are without a doubt Arms and Sleepers, a duo from North America who have profusely spouted fantastic music since their first knocking of heads in 2006. In no particular order, Bliss was it in that Dawn to be Alive EP, Black Paris 86, Cinematique, Lautlos EP, Milkweed EP, From the Inland Sea EP, The Motorist and of course this release, Matador (with a bside special edition release just out). Not bad for a 4 year run.
Matador is a special album, 10 tracks (11 if you’re from Europe/Japan) of trip-hop fused with ambient post-rock, a sprinkle of IDM and dripping with guest stars who all seem to have voices fit for indie pop music. The great thing about it, though, is that these voices are put to brilliant use on this album by taking a somewhat indie/folk specific voice and dropping it into a glitch-driven track with soft piano in the back, like in the case of The Architekt. This vocal treatment sets it apart from the rest of the Arms and Sleepers albums and EPs, which generally have little to no vocal participation. In a sense it makes Matador depart from the ‘traditional’ A&S sound, but thankfully not in a bad manner.
Arms and Sleepers - Matador
The album is introduced by a calm track in Orly that sets up beautifully for the title track, Matador, which is unmistakably trip-hop the second the beat starts. The Architekt follows, which seems to be the generally regarded ‘hit’ of the album, with vocals from Ben Shepard and Catherine Worsham (Uzi & Ari) who’s voices almost seem better suited to this style of music better than their own. Twentynine Palms follows, which is a much slower but no less fantastic track. It’s at this point you realise that every track has its own voice and is telling its own story, but no single song subtracts from any other.
The album is an entity that can be listened to any way you like, starting anywhere and finishing anywhere and you still feel as if you’ve listened to a whole soundscape of crafted beats, unique analogue instruments and layered vocals. The final tracks, especially Simone and Kino give off an airy ambiance fitting to movie soundtracks, the potential visuals flash before your eyes whilst listening.
The final track, The Paramour reminds of the title track again, with a chilled beat complemented by piano mixed together expertly with a voice used as an instrument rather than a vocal tool. Horns and other instruments permeate the track towards the end, and it’s a beautiful note to leave the album on, wanting more of the same but satisfied with what you got. - Last.fm - Myspace -
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