By Exit 52
Ah the theremin. Not since 'Good Vibrations' have I heard such magnificent use of the instrument. Opening track on this four track EP, and aptly enough the title track, 'Dandelion' thumps along with its array of kitsch 1960s instruments, its sleazy guitar riff and its myriad of churning organs, booming drums and a vocalist that sounds suspiciously like Jason Pierce. "Keep a gun in the kids room and a jukebox in church"- nothing says noir like that. Brilliantly debauched stuff.
'Nineteen Eighty Three' sees the band, comprised of brothers David and Peter (no surname supplied) delve into sparse, shadow filled spaces that bring to mind the less excessive moments of say, Death in Vegas' psycho circus.
Apparently Exit 52 are big movie buffs and try to incorporate this into their music. With this in mind, it's hard not to imagine some high brow, art filled masterpiece being sound tracked by them. It's Lynch, not as crazy, but just as intense.
'Meow' has some acoustic guitar strums punctuate a rolling drum fill and some lightly placed keyboards. It swirls in an atmosphere of high drama, big on theatrics and full of 1970s sci-fi sounds.
So we enter the last track, or I bet as they like to call it 'the final scene' or something. Whatever, but here we have 'Twelve Bar', another beautifully subtle ode to all things cinematic.
"All we ever wanted was for things to be the same" the vocal echoes. If it's possible, they've left the darkest, most paranoid piece of melodrama for the end. Just like their director idols, Exit 52 know how to keep the tension flowing. They build it up, break it down, yet always have this faint pulse of a drum bellowing in the background.
It's strangely compelling, slightly eerie and really rather great.