The Double

But prior to recording what would be called Palm Fronds, Jeff hurt his hand — preventing him from drumming while it healed. Instead of postponing the recording, the band opted regroup and reconceive of the songs without the traditional drum kit. They experimented with drum machines and other electronic textures, learning as they went along. “Mistakes” that sounded good were left in (the band has a deep respect for Eno’s approach to music making a la Oblique Strategies, etc.) and discoveries used in one song influenced the sound palette in the others. The songs quickly took on a unique sound that was reminiscent of — but ultimately distinct from — the band’s live shows.

Because of this, Palm Fronds is a compelling listen on a number of levels. The songs themselves could be described as singer-songwriter in scope; I hear echoes of mid-to-late period Smog and even “Horse With No Name”-era America (especially on “Standing on a Levee,” though some folks disagree). But the production, drum machines, and general vibe have a wonderfully overmodulated digital crunch, plenty of echo, broken electronics and all sorts of whatsit thrown into the mix. Which is to say that all that songwriter stuff, when The Double finally let you hear it, owes a lot to a bunch of digital dub and experimental electronic types. But through all this Palm Fronds has an impeccable balance; the production never overwhelms or obscures the essential song. So with Palm Fronds you’ve got ear candy AND brain candy when you get right down to it — lucky you.

First two editions of 500 copies [in jewel case] with offset printed inserts and silkscreened, individually decorated outer wraps (sold out). Third edition of 1000 copies without outer wraps.


Relevant Links
www.thedoublethedouble.com