Album Review: The Postelles – S/T

The Postelles are a New York group who just released their debut album.  It’s pretty great, and I swear I’m not just saying that because Albert Hammond Jr. helped produce it.  The one thing the band has made known is how dearly they care about their songs, along with the act of song crafting in general.  This is where I find myself most identifying with the group, though I realize that’s an odd thing to relate to as a writer.  Yet, so many songs I hear–whether sent to me by up and coming bands or even ones discovered on my own–have such incredibly poor structure that I can’t bring myself to enjoy them.  One might like a group’s sound, but when that sound lasts for over five minutes it just gets flat out irritating.

Like a movie, a song simply needs to know when to end.  Whether this is in the middle of a verse or after eight choruses in a row doesn’t matter, it just needs to happen at the right time.  Of course this entire idea is genre and style dependant, but in the world of rock and roll singles there is a pretty well-defined limit.  Fifty years of history have taught the world that three minutes is usually the time to start wrapping up your little masterpiece of pop perfection, and nobody is going to reap any rewards if you get over indulgent.  My point, if you think this is a digression, is that the Postelles have mastered this feat on their self-titled LP.

They’ve had plenty of time to do it too, as they were caught in a crappy label situation for two years while perfecting this batch of tunes (by playing everywhere the could, of course).

Each and every song on the album is as light as it needs to be, and the reward is a quick listen filled with catchy, danceable, hooks and memorable singles.  For somebody who adores the Strokes, the Kooks, and Hot Hot Heat, as well as the masterful Beatles themselves, I couldn’t really ask for anything more.  Self described ‘band statement’ “White Night” is a perfect way to start the album, even if it does have a melody slightly lifted from Supergrass’ hit “Alright.”  This is pretty forgivable in a song that’s so well executed, and the tune walks the same excited, edge-of-the-rails line that its inspiration did.  Albert Hammond Jr. should  have stolen “Sleep on the Dance Floor” if he didn’t actually help write it, being that it sounds just like his first solo album.  “Stella” is another pure rocker, and screams the same way the best Locksley songs do, even if it’s filtered through the sound of Miniature Tiger’s first album.

Surprisingly, Elvis Costello is who came to mind when “Hey Little Sister” started the first time, whereas Mystery Jets could easily have written “Whisper Whisper.”  What these easy comparisons all boil down to is that the Postelles are easy to classify, but still fantastic to listen to.  Their vibe is pure summer, pure pop, and pure perfect for anybody who appreciates good indie rock and perfectly written songs.  This version below is the EP version, because you should seriously buy the album itself…

The Postelles – White Night

One last match: Birdmonster +the morning benders = “Boy’s Best Friend.”  Ok I’m done…

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