DAR­LIN’ MAUDIE

Pasatiempo - - Pasa Tempos -

From the Ana­log Moun­tains

to the Dig­i­tal Foun­tains (Bape

Records) What bet­ter way for a band to take a fi­nal bow than with a ret­ro­spec­tive al­bum that show­cases its ver­sa­til­ity and mu­si­cal chops? Wi­chita-based Dar­lin’ Maudie recorded for more than 10 years, re­leas­ing its own al­bums and pump­ing out ev­ery­thing from sparkly pop tunes to in­die rock, prog-metal, disco, grunge, folk, punk, and am­bi­ent-elec­tronic sound­scapes. To take some of the sting out of Dar­lin’ Maudie’s dis­so­lu­tion, band mem­bers Mike and Nick Evan­cho — that’s the whole band, plus nu­mer­ous in­stru­ments and a drum ma­chine — have re­leased the most am­bi­tious al­bum of their ca­reer. The two-disc Ana­log/Dig­i­tal of­fers up 25 songs, some new and oth­ers re­mas­tered demos from as far back as 1998. Three years in the mak­ing, the re­lease cap­tures a band as it tra­verses a broad mu­si­cal land­scape in search of a sound to call its own. Named af­ter a car­ni­val per­former in W.P. Kin­sella’s book The Iowa Base­ball Con­fed­er­acy, Dar­lin’ Maudie tack­les nu­mer­ous mu­si­cal gen­res, slather­ing them in chunky fuzzed-out gui­tars and rap ’n’ roll per­cus­sion. If the rhyming à la Deb­bie Harry and the Chromeo-like break­downs of “Heart Will Break the Fall” don’t im­press, then the Frank Zappa frenzy of “Sat­u­ra­tion Point” and the faux-Brit sneer/slur punkisms of “2-3-4” will. Mimicry may have been Dar­lin’ Maudie’s only strong suit, but the group ex­e­cuted it so hon­estly — and so well. — Rob DeWalt

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