01	Abstract Damage						04:13
	02	Cuckoo						05:20
	03	Bubbles And Gurgles						05:17
	04	Modern #1						00:34
	05	Eggshells						07:21
	06	The Messenger Is Sleeping						07:43
	07	The Incredible World Of Lady Miss Bug						07:15
	08	Modern #4						00:32
	09	Teenagers Have Failed						04:58
	10	Sword And Sandal						06:34

Val Opielski - piano, guitar, bass, clavinet, organ, bongos, dumbek, cymbals, vocals
Glendon Jones - violins, organ, accordian, vocals
Ely Levin - drums, phaser keg, tambourine, shakers, triangle, vocals
Ted Casterline - bass, 6-string, baritone, acoustic guitars, synthesizers, percussion, vocals
with:
Ben Freeman - cello, electric piano, indian drone box, vocals
Dave Brown - violin (1, 3)
Sarah Ferholt - trumpet, flugelhorn

Etherdrag Records - Etherdrag 004 - 2002

Togetherness (2002)
It would be a major feat for Krakatoa to top their stunning debut. And they have gone and done it. A more developed and dynamic album, Togetherness incorporates an even larger array of styles and influences than the debut. The amps are all turned up here, with a decidedly more rock edge and blistering intensity in some places. The chamber elements are still in place, as well as a contemplative post-rock vibe, and even some whimsical vocals. The addition to the original quartet with violin, cello and horns brings additional tone colour to great effect, with a warmer string sound, and additional melody from the horns. The instrumental labyrinth of twists and turns is handled deftly, with precise intricacy and great emotion. Their meticulous arrangements show off their compositional strength.
"Abstract Damage" kicks things off with a truly abstract vibe; languid acoustic guitar and strings give way to vocoded vocals, which are interrupted by a latin big band. String droning continues into a dark and eerie mood, ending with powerful violin riffage. The constant shifting of styles and moods in each song keeps things varied, and has the listener on their toes waiting for the next shift to come from around the corner. "The Incredible World of Lady Miss Bug" brings out their 'baroque cartoon rock', marching along with a fun and innocent child-like groove and thematic melodies. The laconic angst of fuzzed out guitar cuts through the pensive atmosphere of "Teenagers Have Failed", providing a schizophrenic and edgy atmosphere. An incredible follow-up album that will surely rank among the best releases of the year. - Mike Prete [March 2002]


Krakatoa - Togetherness
(Etherdrag)
Some bands have perfected the art of genre hopping to the point that you stand back and start to wonder if their speed's cut with either cocaine or sugar. Sure, there's outstanding musical prowess there, and you can't help but admire it, but you can also imagine the members of the band red-eyed and ready to pass out at the end of the day. Krakatoa, on the other hand, hop genres so subtlely and effortlessly that you'd think they were just playing one style of music, but when someone asked you what kind of music they were playing, you would say, "Well, that's easy really, they play—um... well, there's a little bit of... you see... what the hell kind of music do they play, anyway?" Their music seems so effortlessly classical and well-crafted that you can imagine a club packed with fans of pretty much any kind of music feelin' it and thinking to themselves, "I don't usually like this kind of music, but this is different."

Togetherness is a fine, mainly instrumental record with nary a dull moment. The lineup is made up of five talented multi-instrumentalists that can handle anything. And what of this "anything" is contained within? Oh, well, prog, R&B, post-rock, soul, jazz, folk, 50's dance-pop, country, lounge... yeah, you're thinking, pick one and stick with it, but you won't believe how all these things meld so seamlessly. You'll generally hear guitar, bass, violin, and drums, with the occasional organ, clavinet, or piano accompaniment, and the even less occasional vocal interjection (which can be as spontaneous as a shouted couplet, or as graceful as quoting an old-time American folk song in five part harmony).

The whole record has the energy of a jazz recording; it sounds like a live album with no overdubs, and if it isn't, they have me fooled. Their sound is unlike any other, and it's hard to describe why. I can't pick a moment or two out of Togetherness that succeeds more than the rest. Press play starting anywhere, at any second within its 50-minute length, and you'll get a glimpse of how much you'll like the whole album. It's a strong effort and I'm looking forward to hearing more from them.

10/12

spencer owen
2002 apr 5