On the surface, the Violettes' debut album follows a well-tested formula for soundscape pop: Sarah Khan's delicate voice soaks in a bath of fuzzy guitars, droning cello, and the garble of vocal samples run backward. For a mere four musicians, they construct an impressively epic wall of sound, the sort of orchestra-in-a-box resonance that every band with one string player wish they could produce. This, in part, is owed to producer Bryan Hanna, who's become known for adding extra lushness to albums by locals including the Hang Ups and the Great Depression. The Violettes and Hanna avoid the sort of overindulgence that leads to indistinguishable tracks and an album-long "song" by taking trips into lighter fare, like the slinky bossa nova of "1-2-3 Go!" Also unlike most other sound-diving bands, they have an Eastern edge, swirling tablas and sitar into the tub. If My Bloody Valentine had studied up on Indian culture and dreamt of elephants, they might have sounded like this.
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