HIGH LLAMAS - Can Cladders reviews
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| TinyMixTapes |
 It’s a cliché that the little things make life worth living, but, as can sometimes be the case with clichés, there’s a good deal of truth in it. In my estimation, a new album by The High Llamas is definitely one of those little things that gets unduly taken for granted, and for too long they have existed in the periphery of the already peripheral genre of indie chamber pop....full text |
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| PitchFork |
| After 2003's Beet, Maize & Corn, Sean O'Hagan undertook a project with artist Pierre Muller to create "Musical Wheel", a web-based collaboration between O'Hagan's music and Muller's paintings. Those who've followed the High Llamas over the past decade and a half, however, may have seen that project as simply a continuation of what O'Hagan had been doing all along. After all, even the Llamas' album covers-- from the transparent modernist linearity of Gideon Gaye's cover collage (a skyscraper, village houses, and a castle juxtaposed against an expressionistic sunrise) to Hawaii's Howard Finster folk art style and bold vacation brochure lettering, to the modernist simplicity of Snowbug and Buzzle Bee-- have always mirrored the music....full text |
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| Popmatters |
| The High Llamas are Sean O’Hagan’s musical camelid, and each of their recordings offer variations on familiar themes—albeit themes much more musical than lyrical. For instance, if you can figure out what the title song, Clan Cladders means, you’re a more astute pop music scholar than I. The track’s words have something to do with poetry readings before the war. But that’s about all I can make of it....full text |
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