Tilly And The Wall
O
Team Love Records
By Kevin Hakansson
As one of the first artists to record for Conor Oberst's Team Love Records, Tilly and the Wall set a standard for the label with their debut Wild Like Children, released in June of 2004. The record was bright, happy, and decidedly singable, featuring the dual female vocals of Kianna Alarid and Neely Jenkins. These Omaha popsters are still at it, and O gives listeners a taste of the various styles the band is capable of performing.
On their third full-length (Bottoms of Barrels was released in the spring of '06), Tilly and the Wall seem quite interested in getting their listeners moving. "Pot Kettle Black" is a frantic, distorted stomp-along, Alarid and Jenkins shouting the song's eponymous chorus. It's not hard to envision a sea of club goers pogoing and belting this one out. The same can be said about "Falling Without Knowing"; though not nearly as raucous, it's still energetic as hell, its sexy backing tune providing a glimpse back at what drove '80s synth pop.
While much of O suggest that you should be shakin' yo' junk, it is at times a stunningly musical record. The record begins with one of its quietest, most intimate moments. Guitarist Derek Pressnall introduces "Tall Tall Grass" on his acoustic guitar, and is soon joined by the perfect vocal harmonies of the ladies, before keyboardist Nick White's piano drives the tune into another gear. Another of the more musically ambitious tunes here is "Cacophony," a song that's just what its title suggests. This one is just a wall of sound, each band member singing, percussion hammering away, even a trumpet blaring. The band proves unafraid to inject some brass throughout the record, as the soaring trumpet returns in the synth driven "Dust Me Off," while a trumpet-trombone duo contribute to the southwestern feel of "I Found You."
Still, it's not as though Tilly and the Wall have to try too hard to pop out infectious songs. The formula is pretty simple on "Jumbler." Like many of the other finest tunes here, this one's based on a catchy melody and lots of singing; that's really all there is to it. The record is truly a party right up until its finale. "Too Excited" opens with a tap dance solo (that's right) before the band sprints to the finish with a mish-mash of synthesizers and "fuck you"'s. It's a brash ending to an album that doesn't let up, and it comes just as it seems the record is truly beginning. A fitting end to a record that showcases a band that clearly isn't too concerned about what you think is coming next.
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