Every once in a while a band emerges from the rocky soil of the indie underground with a sound so perfectly crystallized you’d swear you’ve been hearing them on the radio for years. Such is the case with New York’s Saints + Lovers. On their breathtaking debut, Stille, the three-piece explores much of the same sonic terrain navigated by übergroups like U2, Coldplay and Muse with an expertise that’s downright shocking for a new band. Equally shocking is the fact that the album’s arena-ready sound was produced not by Brian Eno, Daniel Lanois or Nigel Godrich but by the band itself under the helm of guitarist Scott Meola.
From the get-go, Stille establishes itself as a major event. The wash of guitars that herald album opener “The Warning” r ing out with Teutonic glory before giving way to the majestic rhythm section of percussionist Doug Meola and bass player-cum-singer Dennis Cahlo. By the time Cahlo’s urgent - and flawless - tenor makes its debut nearly forty seconds into the song, the band has officially vindicated itself from whatever grandiosity might be intimated by a name like Saints + Lovers. The album’s first single, “Let Me Drown,” pits a chaotic swirl of guitar noise against a simple piano progression that wouldn’t be out of place on a Coldplay album. The result is a riveting portrait of erotic surrender that is as intoxicating as anything off of Cocteau Twins’ Heaven or Las Vegas. “To Pieces” and “The Bedroom Door” pay homage to U2’s The Joshua Tree with arpeggiated guitar riffs steeped in reverb and jangly percussion that threatens to erupt but never quite does. Meanwhile, sexier tracks like “Telling Lies” and “The Seal” feature slinky bass lines, dancefloor-ready beats and falsetto vocals from Cahlo that echo Muse’s Matthew Bellamy.
Lyrically, Cahlo’s stories of yearning and alienation fit the music perfectly - and will no doubt resonate equally with sullen teens and the more existential fringes of the adult contemporary crowd. But what is perhaps most remarkable about Stille is that it makes a strong case for T he Album in an age where The Single - or more specifically, The Download - reigns supreme. While each of the eleven songs works beautifully on their own, together they provide the sort of transcendent listening experience that borders on the cathartic.
--Kenyon Phillips [August 6, 2008]
OH MY ROCKNESS: "All the hype is warranted. I mean, who doesn't love listening to effortless, falsetto vocals over pristinely layered guitars. We're not talking Merzbow here. Think of their sound as Jeff Buckley (or that dude from The Velvet Teen) meets Jesus and Mary Chain's wall of noise meets the crooning and dramatics of Bono and U2."
DELI MAGAZINE 2008: "With their excruciatingly beautiful shoegaze rock, Saints and Lovers captured the hearts of many New Yorkers, including Sarah “Ultragrrrl” Lewitinn, who released one of their EPs on her Stolen Transmission label. This resulted in the band being voted as one of the two bands of the month two weeks ago at thedelimagazine.com. The reason why Saints and Lovers have such a dedicated and glowing fan base is because the hype isn’t inflated – it’s legitimate. Mesmerizing guitar work and Dennis Cahlo’s gliding falsetto vocals cast an entrancing spell for a pleasing blend of Keane, U2, Hope of the States and Paloalto. Their much anticipated full-length debut “Stille” delivers charming, expansive songs, where the strength of throbbing, sparkling guitars and pounding drums mingle with a sweet, nostalgic air. When Cahlo wails the chorus of “Let Me Drown,” it makes you want to drown right along with him in a dreamy, swirling pool of atmospheric guitars and piano. -Nancy Chow"
THE LIVING ATHEIST: "Let Me Drown: It’s class. The motion of the arrangement is very well assembled and delivered indeed and the difference between the verse and choral parts works great. There’s great musicianship and a fine vocal at play that are both clearly working well in each other’s company. It’s a dreamy guitar piece, combined with a desperate vocal, trying to gain your approval and then shoving some simple, yet effective piano in there to break your bones. - Atheist: M."
FIDDLE WHILE YOU BURN: "Saints & Lovers were really impressive, they played a set filled with slowly building epic songs that reminded me of "Origin of Symmetry" era Muse a bit."
THE DELI MAGAZINE 2006: "The most impressive three-piece band you will ever encounter. A sumptuous sound that Phil Spector could only do with a full orchestra. - Vicky U"
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This is our story:
Born from the ashes of two of New York City’s most exciting bands, the Saints and Lovers story begins with the auspicious meeting of Dennis Cahlo, formerly of the Realistics, and V guitarist Scott Meola. Sharing a love of noise, minimalism, and a music-as-art aesthetic, the two musicians bonded immediately. Meola’s ghostly, layered guitar work was the perfect complement to Cahlo’s supernal voice. After an initial exchange of ideas, Cahlo and Meola began rehearsing for a residency in New York. The duo stood out from the pack with their unearthly sound. After an amazing reception throughout the month, the next step was the addition of a drummer. Scott’s brother Doug joined the fold and rehearsals began in preparation for their first full-band show at NYC’s Mercury Lounge.
With the addition of Doug’s Sturm und Drang drumming, the Saints sound bloomed. The original ambient echoes of Brian Eno, U2, and Jeff Buckley took a new form. Now there were mentions of Sigur Rós, The Jesus and Mary Chain, Led Zeppelin, My Bloody Valentine, Spiritualized, David Bowie, The Cure, Slowdive, and Joy Division. With Cahlo’s beautiful falsetto drifting over a dense fog ofotherworldy noise, audiences found themselves in disbelief that three musicians could create such a mammoth sound.
In 2006, Saints and Lovers embarked on the creation Stille, the band’s first full-length album. Recorded, mixed, and produced entirely by the band, the album marks the maturation of Saints and Lovers’ songwriting ability and sonic scope. Songs like “Let Me Drown” and “Anywhere But Here” recall the feel of some of John Lennon’s solo work and The Cure’s The Head On the Door, while “The Warning” may be the most prophetic opening track since U2’s “Zoo Station.” Early reviews have likened Stille to albums by U2, Coldplay, and The Cure. Stille stretches out far beyond the terroir of the band’s 2005 EP release, Atmosphere (Stolen Transmission), illuminating the shadows of what has come before and whispering of untold possibilities to come.
With the addition of a new “live” member, keyboardist Gina Lee, the band continues to
perform in New York, opening for great acts like The Raveonettes, The Bravery, Clap Your Hands Say Yeah, The Dears, and Morningwood. Marrying beautiful melodies with
dissonance, volume, and bombast, Saints and Lovers has created an incredibly unique sound. Sarah Lewitinn of Spin wrote, “In about one year’s time this will be your absolutely favorite band of all time.” In increasing numbers, fans all over New York and beyond agree that they’ve stumbled onto a band that is truly original—one that truly matters.
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After you've finished here, you may like to hear this poem sung on myspace...
Poem 162 of 230, WalkaboutsVerse (please see my blog): TEES TO TYNE: FIRST IMPRESSIONS - SUMMER 2001
Where traditions are not so rare; Sea, country and works scent the air; A multitude of monuments, Planted tubs and patterned pavements.
The longish pedestrian malls; The remnants of defensive walls; Historic buildings are a gauge Of the respect for heritage.
Wheat, rape and pines in the fields; Estuaries guarded by shields; Long sandy beaches and wide scenes; Romantic-ruin go-betweens.
Rivers in parts licked by trees, Or fringed by boat clubs, wharfs, gantries, And crossed by practical delights - Varied spans, forming pleasing sights.
Fine churches headed at Durham; Football kits ad infinitum; Kept castles - one for study; Masonry behind masonry.
And, with moulding-works out that way, It’s somewhere for a longer stay..?
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