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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 |
| Reviews | |
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| The sophomore release from Australia's Mark Mitchell, aka Clue to Kalo, marks a giant step forward for the young songwriter. His debut release for Mush, Come Here When You Sleepwalk seemed limited not only by the technical resources around him by the record's morose, bedroom electronic pop aesthetic. On his soon-to-be-released One Way, It's Every Way however, Mitchell evolves audibly as a songwriter, crafting a record more closely akin to Minotaur Shock's Maritime than to his Mush label counterparts. With a voice eerily reminiscent of Elliot Smith and heavily layered textures of near-psychedlic, often pastoral soft rock and electronics, Mitchell has released a serious contender for 2005's best record. The most obvious sonic touchstone here is UK's Badly Drawn Boy but astute listeners will hear fluctating nods to the anachronistic electronica of Nobody and even moments of Beatles-esque cohesion. Sure it's a big complement but it's simply an acknowledgement of a huge step forward. Not only does it excite me to see a young songwriter so perfectly translate his ideas to tape but it is obvious by the number of guest players on this record that Mitchell finally has the means to fully communicate his musical ideas. This is an electronic rock/pop record truly indicative of the year thus far - and a much more compelling and challenging listen than anything Pitchfork has recently deemed praiseworthy. I sure as hell hope this record doesn't get lost in the crowd; it would really be a shame. - Scissorkick |
1XLP/Out Of Print