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Chicago’s A Lull are nearly impossible to describe without qualifiers. Equal parts mystical and primal, the music crafted by these five multi-instrumentalists gathers the recognizable traits of a half-dozen micro-genres, tosses out all but the stem cells, then adds the calculated, percussive verve of a half-dozen rhythm sections on top of beautifully crafted songwriting to result in a sound that is as unique as it is memorable.
The history of A Lull begins in 2008 with the break-up of Nigel Evan Dennis and Todd Miller’s former bands, setting them free to create a new style of music together. After luring Mike Brown back home from Boston, they began dedicating themselves to their distinctive brand of sound-collage and songwriting. Soon Ashwin Deepankar and Aaron Vincel added their musical voices to the mix and the line-up was complete. With each member of the band being fascinated by drums and percussion, their sound quickly solidified. A Lull blur the lines between the synthesized and organic. The evocative lyrics and vocals of Nigel Evan Dennis are engulfed with musical elements that live on the barriers between guitars, electronics, and effects, then covered with endless layers of drums and percussion.
Their 2009 EP, Ice Cream Bones, was the first display of their quasi-folk, electronic leanings, but their latest work, Confetti, brings all of that promise to fruition. Employing anything available to create beats, melodies, textures, and layers of sound, A Lull’s sonic landscape is experimental in the ways that it takes form, yet at the same time inherently musical.
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