Everything Forever is the second album by Portland Oregon's Sun Atoms who are a Portland Oregon based band who revolve around the talents of Jsun Adams, June Kang and Peter G Holstrom aided and abetted by Derek Spencer Longoria Gomez, Mars de Ponte, Eric Rubalcava, Gregg Williams, Isaac Brock, Allison Green, Jasno Swarez, Lauren Andino, Maria Atoms It was produced by Peter G. Holstrom at Air traffic Control and mixed by Jagz Kooner at Stone Circle Studios in Avebury.
The album opens with Take This Love a plea for you to shove it up your heart, on a space rock indie anthem, with heavily stoned vocals, wishing there was a possibility of a happy ever after ending, of the sort brought about by cool weird synth and keyboard runs for all the counselling you need, to see the reality of the love he has for you.
The first single from the album was Ceiling Tiles I'd guess the sort of polystyrene tiles, that are stained yellow with nicotine, needing to be replaced since everyone stopped smoking indoors, gauzy synth pop, with droll vocals want to teach us how to dance around security guards, helping realign the stars. The clap track hits in, you lean back to stare at those tiles, wondering how long they've been up on that ceiling, while being tempted to take pot shots at them to make sure they get replaced soon.
Mandatory is claustrophobic synth indie, slowly enunciated litany of fear for the miasma of modern paranoia, all the fears and dreads of life in the machine age techno future.
Idiot Speaker has talking drums, over a long tone and middle eastern flavoured guitars, for the vocals to whisper all sorts of truths into your ears.
Narco Polo Feat. Issak Brock of Modest Mouse on this opiated trip across the seas, you can't wait up, you've nodded out again, due to information overload, this tune falls somewhere between Leonard Cohen and Ultramarine with hints of Loop Guru and Robbie Robertson.
Bus Stop Gospel is a great song title, it lives up to it, kind of the preaching's of some slightly bedraggled figure, standing at your local Bus Stop, this duet has lush harmonies and a great horn section, hoping make sense of the rantings and ravings finding sanity in the maddest of places.
Black Ink dark distortions from the prophets of doom, secrets uncovered and displayed, the restrained backing allowing the brass to float over the top works brilliantly.
I'll See It When I Believe It reworks a 60's bassline, building a gauzy laid back tune around it, for the breathy vocals to intone all sorts of hints at the lies and deceit at the heart of modern living, the vocals remind me of Lee Marvin and Leonard Cohen.
The radio Edit of Narco Polo ft Issac Brock feels like they have pulled it in slightly, a bit more restrained than the full album version, it is also half a minute shorter.
The album closes with Stand Up Citizen (Bonus Track) that has a late night smoky jazz club feel, for a tale of the different things, that could turn you into a Stand Up Citizen, we could do with a few million of them right now, trumpet solo gives way to some cool funky flute.
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