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11
Apr 08

Chicagoist

“The Laureates pen ’60s inspired pop with a new millennial sensibility. That is to say that while they wear their influences proudly on their buttoned lapels, they still sound utterly modern. Their forthcoming full-length, There Are No More Gentlemen, is all syncopated strumming and lackadaisical melodies, equal parts paisley and punk.

So forgive us if we form the mental image of four fresh faced kids in matching suits when imagining their live show, which is actually just about the exact opposite of what the band actually looks like, but we can’t help ourselves. Especially on a track like “Nothing’s Perfect” when singer Chad Preston’s honeyed tenor is backed by a crooning chorus of “oohs” from his bandmates, and then punctuated by a swooning trumpet line.

These are the sort of tunes custom built for shimmying gals out of their miniskirts and boys out of their stovepipe slacks.”

[READ ORIGINAL]

02
Apr 08

Life During Wartime

Hey kiddos, we’ve got a big show coming up at The Hideout, and it promises to be a sweaty fun-packed night. Mix cheap PBR with balls-out rock from The Laureates and Mark Mallman, add some booty-shakin’ mixes from DJs Bald Eagle and Mother Hubbard and how could it not be a good time? Here’s the deal though…these Life During Wartime parties tend to sell out pretty quickly, so go get your tickets now!

In album news, we’re going to be placing it in the very capable hands of Carl Saff for mastering at the end of April. Stay tuned, because once it’s done we’ll probably post some of the finished cuts here.

01
Apr 08

Seven Ten Twelve

“Weird how I listened to this, and was going to write a review that said (among other things) ‘Interpol produced by Phil Spector.’ Then, doing some background research into the band, I discover that Seven Inches (Everyday) said essentially the exact same thing.

The Laureates remind me when Uncle Bob took GBV down the hi-fi route, having pulled everything he could out of his basement recordings. As you may recall, many GBV loyalists rebelled against the slickness; if you go back to ‘Do the Collapse’ eight years later, the songs hold up (though, what you need from that era is the Hold on Hope ep, which is the best hi-fi thing Bob ever released).

That is to say, this single is about the songs, the hooks and the production. For a band of this genre, this sounds slick as snails, and these guys fall all over themselves to pile hook after hook into every song.”

[READ ORIGINAL]


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