The Sea And Cake - 'Car Alarm' (Thrill Jockey) Released 20/10/08

“I went to art school to make art, not rock. I ended up making rock and stopping art. I’m often asked to find the connection between the two, to no avail” said Sam Prekop – singer/guitarist of enduring Chicago institutions The Sea And Cake – in an interview preceding the release of their previous album ‘Everybody’. This issue of ‘art-rock’ (and whatever that term may entail) has followed The Sea And Cake since the mid-90s thanks to drummer John McEntire also playing in Tortoise and the other three members’ art-school education. Musically though they’re, on first listen, as far from this categorisation as ****ed Up are from troubling Coldplay on daytime Radio 1.

By all accounts The Sea And Cake’s sonic template has always shared its foundations with the likes of Pavement and Modest Mouse, referencing college-rock of the late 80s/early 90s, albeit with a sandpapered austerity that is perhaps the one nod to the oft-referenced art backgrounds. It’s this clean surface that is the record’s biggest strength. Though such a description may bring to mind nightmares of a polished, soulless creation in the hands of The Sea And Cake such a production is deceptively beautiful, full of warmth and a charming modesty (‘Window Sills’, the album’s best track, ticks all these boxes). Additionally, because the playing is so studied – pleasing, yes, but very clinical all the same – when something like a disarming chord change occurs or a cute melody suddenly appears out of nowhere (‘On A Letter’ in particular sneaks up on the listener) the effect is even more pronounced.

The way ‘Down In The City’ slowly turns into a soft calypso is impressive (and recalls Vampire Weekend, who also share the same streamlined sound on display here), while opener ‘Aerial’ and the title-track are a good showcase for Sam’s dreamy vocal style as well as the band’s intertwining of various guitar lines and motorik-like percussion. ‘Car Alarm’ will never be accused of causing pulses to race (the last few tracks are fairly anonymous), but overall it’s imbued with the qualities that prove, year after year, to transcend pigeonholing and scene-jumping: great songwriting and a cohesive vision.