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MH-259 Head Like A Kite - There Is Loud Laughter Everywhere  There Is Loud Laughter Everywhere, Head Like A Kite’s second full-length album, and first for Mush, is an expert blend of electronic rock production and pure pop-songcraft built on a bed of pillaged found-sound from cities the band visited on their 2006 US tour. No stranger to sharing the stage with big names on national and international turf, ringmaster Dave Einmo has assembled some of Seattle’s finest for the album including members of The Long Winters, Smoosh, Radio 4, Crooked Fingers, and Preston School Of Industry. Whether it be guest vocals from Asya Smoosh and Graig Markel, added inspiration from touring drummer Trent Moorman, or the production of Brian Deck (Modest Mouse, Iron & Wine) each track is flavored with the perfect additions to the epic songwriting and big-beat electronic production that is Head Like A Kite’s forte. There Is Loud Laughter Everywhere strikes the balance between art and craft and is the finest sonic road-trip in the Mush catalog. |
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| Reviews Summary |
| Quite possibly the best release out of the Northwest this year - KEXP / A true genre-twisted party album that appropriately captures the sounds of an eclectic America - Urb / The dreamy soundtrack to your imaginary trip into space - The Stranger / It deserves a lot of indie play - Pop Matters / Laughter’s friskiness is refreshing - AP |
| Head Like a Kite’s second release, There is Loud Laughter Everywhere, drifts in an unclassifiable abyss of psychedelic electronic, hip-hop beats, sound samples, funk rhythms and pop melodies, all reminiscent of the early ‘90’s. Dave Einmo is the man behind HLAK, with help from many guests on the new release, including Eric Corson from the Long Winters, Asya from Smoosh and Darius Minwalla from the Posies, to name a few. The 13-song album is the band’s first on L.A.-based Mush Records and follows the 2006 debut release Random Portraits of the Home Movie. The album is balanced and versatile, with tracks “Big FM Radio Hit” and “Six Bags of Confetti” pop structure and vocals sound seemingly influenced by the Dandy Warhols and others early-‘90s power pop, while “Letting It Go on the Ohio Turnpike” and “We Were So Entangled” have a more industrial feel, with heavier beats and darker overtones, and fun, funk track “Every Day Should Be a Costume Party” speckled with brass samples is thrown in the mix to keep it interesting. HLAK definitely resembles a more electronic Beck, although Einmo successfully creates his own musical breed. - Seattle Sound |
