MONOCLE “‘Hush is their best yet: dreamy pop that drips with infectious imagination while handily living up their unusual name”
UNCUT **** (4 Stars): “Sumptuous slices of bliss-pop with an art-punk edge”
PLAN B : “After a period as America’s finest shoegaze revivalists, Asobi Seksu now leave genres behind and document the night sky”
CLASH : “‘Contenders for being one of the most inventive bands out there”
Tour Dates After The Jump…
US Tour Dates w/ Yann Tiersen
15-Apr Washington, DC @ La Maison Francais
16-Apr New York, NY @ Irving Plaza
17-Apr Montreal, PQ @ Club Soda
18-Apr Montreal, PQ @ Club Soda
19-Apr Toronto, ONT @ Mod Club
21-Apr Chicago, IL @ Logan Theater
22-Apr Minneapolis, MN @ Triple Rock Social Club
24-Apr Denver, CO @ Bluebird
25-Apr Salt Lake City, UT @ Urban Lounge
27-Apr Vancouver, BC @ Richard’s on Richards
28-Apr Seattle, WA @ Neumo’s
29-Apr Portland, OR @ Wonder Ballroom
1-May San Francisco, CA @ Great American Music Hall
2-May Los Angeles, CA @ El Rey
|Asobi Seksu’s creative core explored music at an early age (leadvocalist/keyboardist Yuki Chikudate got standing ovations at child prodigy recitals when she was 8; guitarist/vocalist James Hanna bounced between sludgy hardcore and Mogwai-schooled post-rock in his teens), but their potential career wasn’t put into perspective until a stint at the Manhattan School of Music. The Brooklyn duo found out exactly what they didn’t want to do.Soon after escaping their joyless world of sheet music and classical composition, Hanna began tackling dream-like disorienting soundscapes for the first time, while Yuki quickly fell into the frontwoman position. Together they co-wrote Asobi Seksu’s 2004 self-titled debut album as well as their critically acclaimed breakthrough LP in 2006, Citrus.
Their new record Hush has a phoenix rising vibe-a clear sense of shimmering, dew-draped riffs and spiral staircase melodies that are occasionally blurred by bits of guitar violence and sputtering drums (see the firework finale climax of “Me and Mary” and the liftoff portions of “Sing Tomorrows Praise” and “Glacially”).
One thing Asobi Seksu avoided is sheer shoegaze-pop revivalism. While they listen to a lot of into-the-ether music, Hanna and Chikudate are too obsessed with the expansive possibilities of sound to explore one well-treaded path.