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PARTS & LABOR

Parts & Labor

Constant Future

    "Constant Future" is the career-defining statement from Brooklyn-based noise-pop trio Parts & Labor. The album's 12 tracks deliver the bare essentials of modern art-punk: synthesized keyboard riffs distorted into oblivion, percussion pummeled hypnotically, crackling drones that haunt and soothe, fearless melodies hollered skyward.

    Their last release, 2008's acclaimed "Receivers", saw Parts & Labor blasting off in all directions and creating collage art from hundreds of fan-curated samples. But fifth album "Constant Future" finds them crashing back to Earth, focusing pointedly on what they do best: unique, electronic landscapes melded with buzzing, anthemic hooks.

    Parts & Labor have distilled the lessons and experiences of nearly 10 years as a band into a catchy, blown-out masterwork.

    Dave Fridmann (Flaming Lips, Mogwai, Sleater- Kinney, MGMT) co-produced and mixed the album with Parts & Labor.

    Parts & Labor

    Receivers

      Brooklyn noise outfit Parts & Labor has dramatically altered their wall-of-sound: Their fourth album, "Receivers", finds P&L focusing on open spaces, longer movements, expansive arrangements and loftier goals. On eight epic tracks, "Receivers" showcases the band's catchiest and darkest moods to date, reveling in a growing dynamic sensibility only hinted at in their previous work. Though they've maintained their love affair with glitchy oscillations and anthemic vocals, they are now utilizing the full possibilities of a band that was once a scrappy punk trio, and now a mature art-rock quartet. It's a heady mix of psych, noise, and pop influenced by the arty minimalism of Wire, the surreal pop of early Eno, and even the spaced out psychedelia of "Dark Side"-era Pink Floyd. To flesh out the roar of "Receivers", P&L's founding members Dan Friel (vocals, electronics) and BJ Warshaw (vocals, bass) recruited drummer Joe Wong and guitarist Sarah Lipstate. Wong's motorik style perfectly complements the band's bombastic drone with uniquely repetitive rhythms augmented by jaw-dropping, furious fills. Lipstate implements a noisy-yet-folky guitar technique tinged with experimental electronics, cassette tape manipulations, and bowed double-neck guitar.

      Parts & Labor

      Mapmaker

        "Mapmaker" is the second Jagjaguwar/Brah album from Brooklyn noisepunks Parts & Labor. Expanding on the soaring melodies and cracked electronics of 2006's "Stay Afraid", P&L explores a wider array of berserk, malfunctioning instruments and intricate, pummeling rhythms. These twelve political/personal anthems about ambition and distraction boast bigger choruses, denser drones and shinier hooks. Adding new textures to Parts & Labor's searing pop-squall, the album features guest spots from flautist/megaphonist/vocalist Natalja Kent (of The Good Good) and guitarist Joe Kremer (of labelmates Pterodactyl). Opening surge "Fractured Skies" features a horn section (led by P&L's BJ Warshaw on sax) billowing up through the kaleidoscopic fuzz of electronics. Track 10 is a distorted-toy-keyboard take on the classic Minutemen antiwar spiel "King Of The Hill". Parts & Labor cite the following bands as influences and are totally cool with you name-checking them: Hüsker Dü, Sonic Youth, Boredoms, Minutemen, Neutral Milk Hotel and Amps For Christ.

        Parts & Labor

        Stay Afraid

          Brooklyn trio Parts & Labor combine tumultuous noise with enormous, triumphant melodies on their latest album, "Stay Afraid". Malfunctioning electronics howl in agony, drums rupture like fireworks, battle cries are belted through a monolithic layer of distorted bass and guitar. Parts & Labor revel in day-glo noise, charred drones, punk velocity and phoenix-like hooks - a unique blast influenced by the clamour of Husker Du, the bluster of Boredoms and the homemade spirituals of Neutral Milk Hotel.


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