They formed when they were 14, two fifths of them are called Rhys and they live in a house called Ken. Ulrika Spacek are truly a unique proposition amongst the glut of Women/Viet Cong influenced tangle rock bands. Their debut self titled record was a hero here at the towers and this follow up record promises to be a collection of woozy and druggy avant rock.
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A band famously similar to Deerhunter, Ulricka Spacek made good on the time they were given in ‘The Album Paranoia’ to weave a record of retro-futurist guitar sparkle, mirroring some of indie rock’s best bands in wide open spaces. Being its target audience -- krautrock dads, satisfied by nothing -- we loved it a lot. It figures that ‘Modern English Decoration’ is largely more of the same grooving and hypnotising pop magic.
With its gray scale guitar shred and apologetically bouncy bassline, “Mimi Pretend” echoes a crop of post-punk bands living their early days, still excited and chirpy, like Viet Cong on their quirky ‘Cassette’ or Deerhunter doing ‘Cryptograms’ -- it’s a playful churn with twisting structures and it wants you to focus in on its hook. “Silvertronic” has a simply lovely guitar line, the kind that winds you down different roads that put you at different ends of the sun/shade spectrum. “Dead Museum” plays with string bends and sparse fret movements before bursting open onto a knottier riff, the indie rock equivalent of a butterfly wriggling out of its cocoon.
Excuse all these dumb summery metaphors, but this is that kind of record: very nice and strangely soothing, it turns me into a total idiot. I’m wearing shorts as I type and it feels right. ‘Modern English Decoration’ is a more simmering record than its predecessor, largely because it changes nothing but a little spot of production maintenance: these songs are generally more lo-fi in presentation, the distortion nestling up against the invisible walls of its songs, bringing the listener closer to the season of feeling good. Yet another jangling guitar pop record for the future months.
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