Spoon is a hardworking band that consistently puts out good music, but of their many albums only Kill the Moonlight qualifies for LPMG approval. It’s 12 flawless tracks feel like they spent a few months in the urban wilderness and came out lean, sinewy, and slightly insane.

The defining word for this record is sparse. Spoon is a band that does not fear the sight of an equalizer bar down near 0. The band utilizes effects on everything, guitar, keyboards, bass, a variety of electronic and real drums, and the lead singer Britt Daniel’s voice. However, it is a rare moment when more than 3 instruments are playing at once. Even the vocals can’t be trusted, as they flit in and out of both audibility and comprehension. Despite the minor chords and pervading sense of late-nightedness this is a joyful creation. Kill the Moonlight plays out in that sloppy/happy zone of feeling like you’ve had too much to drink and debating whether you’re still ok to drive home.

Spoon consists of very accomplished musicians, and it’s a huge compliment that despite their obvious skill they manage to sound like a young, fresh garage band. The production is kept loose and free-flowing, with the sound of tambourines being picked up, conversation between band members, count-ins, and the overall feeling of very talented people having fun playing music they love.

Each track has a different moment to love, and despite the skin and bones construction of the record, it never feels repetitive. For all of its white space the beat somehow never gets dropped, there is a thematic cohesion to the 12 tracks, and you find yourself at the end of the album before you know it. Which is a sure sign that you’ve got a LongPlayingMaxiGroove record on your hands. Last orders have been downed, the bar is closed, enjoy this 35 minute shamble home down poorly lit streets you’ll grow to love. d(-_-)b

Patrick Reynolds