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MH-238 Clue To Kalo - One Way, It's Every Way  Written and recorded in Adelaide, Australia during a two-year period of great personal change, and finished on a four-month adventure in Brooklyn, USA, One Way, It's Every Way is Mark Mitchell's second record as Clue To Kalo. Designed as a musical palindrome, the album is an unabashedly ambitious, surprisingly celebratory meditation on death. Instrumental contributions from old and new friends, as well as elements of classic folk, lo-fi rock, and bedroom electronica, are all taken out of context and remade as a ten track set thick with overloaded melodies, multi-part harmonies, and literate language. One Way, It's Every Way is a stunning development for Clue To Kalo both musically and lyrically. |
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| Reviews Summary |
| A serious contender for 2005's best record - Scissorkick / Extraordinarily unassuming, gorgeous release - Stylus / A master of counterintuitive pop arrangements - Chord / Will pull at your heartstrings and carry you back to nostalgic places in the best of ways - Metro.Pop |
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| While this record seems to come from another huge crew of Australians led by a wacky mastermind (see our feature on Architecture in Helsinki), Clue to Kalo is actually just Adelaide's Mark Mitchell. The songs on this, his second record, are as instrumentally vast as they are musically compact. At times, the multiple textures that stack up to form each track sound perfectly cultivated; other times, they are a bit over-managed-but throughout, One Way It's Every Way strikes careful balances between dense austerity and airy ease. Imagine Badly Drawn Boy sitting in with the Notwist-maybe throw in a software upgrade. “Seconds When It's Minutes” moves from subdued, calmly layered pop into a beautiful, spiraling drone-sort of a less-analog Analog Set. “Nine Thousand Nautical Miles” could be the Books fucking with an old Swirlies track, with Mitchell's simple vocal melodies coasting atop a surface of confusingly danceable IDM snags and flourishes. Anyone who dug that last Russian Futurists record will love the calm chattiness and lo-fi drama of “The Tense Changes,” while the delicate piano cycles and dry Western guitars of “The Just is Enough” will please Shins and Yo La Tengo fans alike. As evidenced here, Clue to Kalo will send you scrambling for similarities to tried-and-true indie favorites; but when the name game grows old, what remains is a truly fresh-sounding set of songs that'll send you into repeated spins. - Boston's Weekly Dig |
1XLP/Out Of Print