Dirty projectors bitte orca download free

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Cancel anytime. It wasn't exactly a gimmick, but-- and I say this as a fan of both of those records-- it wasn't all that far from one. In spite of its comparatively light tone and the band's tight clutch on melody and rhythm, it was art-damaged and, to some, impenetrable. However you sized it up, you had to admit it was intriguing, even if your interest level waned with every passing yelp.

This has heretofore been the story of Dirty Projectors: a band so brainy, so good at the very particular thing they do, they can be hard to like.

Now comes Bitte Orca , the band's best, and certainly most likable, album by a mile. Bitte doesn't actually switch up the Rise Above formula that much: Intricate if roomier full-band arrangements abound, Longstreth largely sticks with his clear King Sunny Ade-meets-Jimmy Page guitar acrobatics, and he's still singing his strange, loping songs with that voice. But it whittles down the jarring time signatures and off-kilter arrangements and vocal bleats er, for the most part to create a triumphant art-pop record destined to please longtime fans and win him a whole slew of new ones.

The key is that, rather surprisingly, Bitte Orca is one of the more purely enjoyable indie-rock records in an awfully long time; remarkable by any means, but even moreso considering the source. It's breezy without a hint of slightness, tuneful but with its fair share of tumult, concise and inventive and replayable and plain old fun. It is the sound of Longstreth the composer and Longstreth the pop songwriter finally settling on a few things together after years of tug-of-war between the two.

From the chiming opening chords of "Cannibal Resource" to the supple swivel that closes "Fluorescent Half-Dome", there's a forward motion at play when you spin Bitte Orca all the way through, but it's an album of such a high uniform quality and such indelible range, practically any tune could be your favorite.

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