Send "The Deadly Syndrome " Ringtones to your Cell 
| Pitchfork |
 A brief history of the Los Angeles rock scene, post-2007: Silversun Pickups are Best New Artist Grammy nominees for their second LP, a former McSweeney's and Men's Health writer hit the VH1 big time with Airborne Toxic Event, No Age's the Smell becomes a nationally recognized landmark, Devendra Banhart dates Natalie Portman, the lead singer of West Indian Girl marries Trent Reznor. And yet, all of those seem less implausible than the second Deadly Syndrome record being received so quietly. This band was on its way three years ago-- galvanizing live shows, fervent local support, and The Ortolan, a record which hit enough populist-indie pleasure points to transcend the notion that they were mere beneficiaries of Silver Lake's hype cycle.I don't know exactly what happened to the Deadly Syndrome in the time since, but judging from Nolens Volens not much of it was good. The record sounds haunted by missed opportunities, isolation, and spiritual crisis. Solo acoustic opener "Villain" announces Nolens Volens as a totally different record than its predecessor-- the carnival instrumentation is dialed way back. You will no longer be hearing Wolf Parade comparisons. More startling are singer Chris Richard's vocals, which sound sapped of all hope, his yelp turned into a confessional plaint almost ashamed of itself before he turns accusatory ("why don't you just go fuck off and die? Is there anything you need?")....full text |
| Webinfront |
| By Travis Woods Release Date: 3.23.10 Label: Self-released Moody, quietly turbulent, and jacketed with an increasingly detailed series of textures, studio sonics and heady atmospherics, the Deadly Syndrome’s Nolens Volens is not the album you expect to hear upon pressing ‘play.’ There are no frenetic drum circles here, nor careening tempos threatening to collapse in on themselves with a freight train momentum, both of which are features of the band’s stellar live shows. Instead, Nolens Volens moves at its own meditative pace, where even the uptempo rockers–tracks like the delicate, rattled rush of “Doesn’t Matter,” the ringing “Wingwalker,” and the crunching grooves of “Party City”–all rise, rise, and rise only to back off into hushed quiet once again, just before a sonic catharsis can take place (lone exception: the tempest at the album’s center, the stinging whirlpool of “Deer Trail Place”). You could argue that such moves are made from fear or an unwillingness to write more anthems on par with their debut’s “Eucalyptus” or “Emily Paints”; however, after multiple listens (and Nolens Volens is a grower–it requires more than one sit-down) this record sounds like one made with anything but fear. There’s a willingness to experiment with and embrace subtlety, to take advantage of the studio as a whole to craft a spare, spacious record that reflects the insular, occasionally turbulent but relentlessly innovative headspaces of the musicians behind it. It’s a true album in that each song bleeds into the next, linking together and marked with numerous little sonic details that cumulatively form a much larger picture–the removal of a single song would cripple this disc, as each tune works in tandem to push Nolens Volens to its lovely, wonderful end (the gorgeous album highlight, “Armrest,” and the buzzing, funereal closer, “Heresy)....full text |
| Undertheradarmag |
| In 2007, The Deadly Syndrome came roaring onto the Los Angeles music scene with a sound that featured off-kilter vocals, squeaky synths and songs that played more like epic bipolar journal entries than self-contained three-minute ditties. In short, theirs was the music of youthful exuberance. Sure it didn't always work, but damn was it exciting! With their sophomore outing Nolens Volens, The Deadly Syndrome has taken a clear step towards maturation. While the licks are tighter and the lyrics more focused, it seems a shame that they've also shed their ability to crack a joke along the way. This isn't to say that Nolens Volens is without value —it's just that this time around, The Deadly Syndrome's virtues are strained under the weight of some very heavy baggage. If their debut, The Ortolan, is the wisecracking, heavy-drinking best friend from your college years, Nolens Volens is that same class clown with a mortgage, wife, and two kids. The album settles for moments of brilliance: The third act use of horns in "Armrest," "Party City"'s decidedly melancholic rock-out, and terribly fun, terribly misleading single "Wingwalker." But for every sweetly restrained good time, there's the pressing reminder that real life looms just around the corner, particularly in aptly named "After Work" and limp album opener "Villain." While it seems unlikely they'll be slinking off into the shadowy world of respectability, one hopes the days of waving their hands in the air like they just don't care aren't gone for good. (www.thedeadlysyndrome.com)...full text |
The Deadly Syndrome lyrics
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