Send "The Like " Ringtones to your Cell 
| Allmusic |
 In the time after the release of their 2005 album Are You Thinking What I'm Thinking?, the Like lost a member (bassist Charlotte Froom), shifted record labels (from Geffen to Downtown), got a mod makeover, and most importantly, changed their sound from pretty but uninspired punk-pop to tough and exciting garage rock-inspired pop. 2010’s Release Me was produced (mostly) by Mark Ronson, and together with the band, he gets a very authentic mid-'60s sound with plenty of reverb, drums that snap, guitars that are light but crunchy, and an overall tight and jumping sound. New member Annie Monroe’s wheezy old Vox organ adds to the Standells-in-eyeliner vibe, and overall the band sound energized -- nothing at all like their previous record. It feels like they're having a blast running through a set of witty and powerful songs that sound perfect for '60s dancefloors, rec rooms, and late nights alone in front of the mirror. Vocalist Z. Berg’s vocals have a newfound snarling edge to go with the sweetness; when she puts you down (as on “I Can See It in Your Eyes”), you stay down. Her delivery of rockers like “hit single in a perfect world” “He’s Not a Boy,” or “Fair Game” has a bite worthy of a long-haired garage rat. She also shows the dynamics of a classic girl group vocalist on the more melodic tunes like “In the End” or “Walk of Shame,” and emotes with real soul on the slow tracks like “Narcissus in a Red Dress.” It’s a virtuoso performance that is matched by the rest of the band. New bassist Leana Geronimo has a nimble, fluid style and drummer Tennessee Thomas pounds the drums with vigor, but also shows restraint when the occasion arises. The band plays like they’d be great in a live setting, especially since the production -- which along with Ronson is provided by Alex Greenwald and, on a couple songs, Homer Steinweiss -- sounds like a well-recorded live set. Release Me wipes away any memories of the band’s previous work as well as any boring talk of their famous fathers, and re-introduces the band as first-rate purveyors of thrillingly fun rockin’ retro pop....full text |
| Nytimes |
| Luke Temple could be talking to himself in a song called “Collector” on Here We Go Magic’s second album, “Pigeons” (Secretly Canadian), when he sings, “You find the Lord in repetition.” His kind of repetition is the ceaseless, clockwork patterns of New York City art-rock and 1970s Krautrock; the electric-organ tones are the direct link. In Here We Go Magic’s songs, the Minimalist patterns can be a foundation, a calm pulse, a motor, a vocal chorale, a gauzy swirl of guitars or a circusy tootle, swelling within a song or racing all around it. Mr. Temple brings his wispy, androgynous voice to lyrics full of modesty and qualifications — “It’s casual, not heartbreaking/ So casual, not mind-shaking” — but the songs are absolutely confident that every repetition is worthwhile. Punch Brothers Virtuosity leads to a temptation: to write music that’s complex enough to need every bit of skill. Led by Chris Thile on mandolin and lead vocals, Punch Brothers have the unplugged lineup of an old-fashioned string band, and they recorded their second album, “Antifogmatic” (Nonesuch), live in the studio. But their music is as radical as progressive bluegrass (or newgrass, or new acoustic music) can be, with chord progressions that can veer sideways at any moment, changeable meters and interludes that can hint at hoedowns or turn as contrapuntal and dissonant as chamber music. Luckily, there are limits. Punch Brothers tuck their instrumental prowess into songs, behind or between the arching melodies carried by Mr. Thile’s high, aching voice. And he brings something unexpected to the pickin’ party: angst, which in these songs often happens to revolve around the dangerous lure of available women: “Too hot, too sweet, too bad, too late.” Emotion still outweighs technique....full text |
| Latimesblogs |
| This Los Angeles group has a great gimmick (its original lineup featured the daughters of three music-biz veterans), a great look (“Quadrophenia” meets “The Virgin Suicides”) and in frontwoman Z Berg a singer with a great voice (and a great name). What the Like has never really had is great songs. Listening to the band's 2005 debut, “Are You Thinking What I'm Thinking?,” you keep waiting for the music to reveal hooks worthy of its pretty, post-Pretenders vibe. They never come. For help enlivening their sound on “Release Me,” Berg and her mates recruited Mark Ronson, another record-industry scion (his stepfather is Mick Jones of Foreigner) who's best known for producing Amy Winehouse's “Back to Black.” He recast the Like as a '60s-style girl group with spooky organ licks, sweet-and-sour vocal harmonies and sassy tough-chick lyrics about love; Ronson even brought in a couple of ringers from throwback-soul queen Sharon Jones' band, the Dap-Kings. The result is infinitely more memorable than “Are You Thinking,” though it's no less mannered. “I'm all about chances, madness and mayhem,” Berg sings in “Catch Me If You Can,” and on an album of skillfully art-directed retro-pop gems, that couldn't be further from the sweet truth. — Mikael Wood The Like "Release Me" (Downtown/Geffen) Three stars (Out of four)...full text |
The Like lyrics
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