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The Sleepover Disaster

Hover

(Devil in the Woods; US: 10 Feb 2009; UK: Available as import)

Remember when My Bloody Valentine followed Loveless with a mediocre, watered-down stab at mainstream appeal produced by, say, Butch Vigg? Yeah, neither do I—but if it existed, I imagine that album sounding a bit like The Sleepover Disaster. Hover, the California trio’s third full-length in over a decade, comes out in 2009, yet its heart remains firmly in 1992: noisy shoegazer moping married to grand, swelling choruses, a combination as solidly consistent as it is unremarkable. On tracks like “Friend” and “Code Breaker”, the atmospheric wall of guitar noise—a trademark for this band—is both colossal and somehow domesticated, triumphed by songwriter Luke Giffen’s anthemic, pop sensibilities. Ultimately Hover resembles just about every indistinguishable opening act you’ve ever enjoyed—until, that is, each song reveals itself as quite like the last.

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Zach Schonfeld is a writer and former associate editor for PopMatters and a reporter for Newsweek. Previously, he was an editorial fellow at The Atlantic Wire and graduated from Wesleyan University, birthplace of Das Racist, MGMT, and the nineteenth-century respiration calorimeter, where he served as the editor of Wesleying, a popular student-life blog. In his spare time, he enjoys visiting presidential birthplaces and teaching his dog to tweet. In addition to PopMatters, his writing has appeared online at Rolling Stone, TIME, Consequence of Sound, The Nation, USA Today College, The Columbia Journalism Review, The Rumpus, Paste Magazine, and the Hartford Courant. He can be reached at zschonfeld(at)gmail(dot)com or on Twitter @zzzzaaaacccchhh.


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