The second full-length from Laura McFarlane's Ninety Nine project makes a significant step forward from the first -- the influence of McFarlane's earlier work with Sleater-Kinney is still present here, but the album's polished combination of indie recklessness and synth primitivism retains its spirit far more than its sound. The quirky, slanted sense of instrumentation which marks the album is one of its best features, as is its willingness to throw interesting twists on the indie-rock conventions one would expect ("Gamelan ...
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The second full-length from Laura McFarlane's Ninety Nine project makes a significant step forward from the first -- the influence of McFarlane's earlier work with Sleater-Kinney is still present here, but the album's polished combination of indie recklessness and synth primitivism retains its spirit far more than its sound. The quirky, slanted sense of instrumentation which marks the album is one of its best features, as is its willingness to throw interesting twists on the indie-rock conventions one would expect ("Gamelan," with its gamelan sounds, and "Manga Girl Cut"). Throw in a surprisingly polished sense of low-fi aesthetics, and you have 767, a pretty spectacular album in all respects. ~ Nitsuh Abebe, Rovi
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