The Postmarks

The Postmarks

The Postmarks, are a sad ‘n’ sunny Miami indie-pop trio consisting of Ivy/Concretes-style vocalist Tim Yehezkely (yeah, a girl) and lush, soundscaping multi-instrumentalists Christopher Moll and Jon Wilkins. Pitchfork calls it a "pristine orchestrated pop beauty" and we would have to agree!

The Postmarks are displaced Francophiles, making'60s-influenced ba-ba-ba pop that reeks of Gauloises and turtlenecked Euro beatnik chic.

They are at the interface between lounge muzak, dream pop and twee/anorak, a cutie version of Cowboy Junkies/Mazzy Star's narcotic alt.country, Slowdive minus the feedback or Stereolab without the electronic effects.

"A suburban bedroom symphony and some of the most complex and sophisticated pop music around, a self-contained, hermetically pure world of orchestrated, swooningly cinematic lusciousness."

Gelled by their appreciation of film scores, other influences include 1970s soul, dub and folk. When it came to writing songs, this group has taken a cue from musical giants like, Brian Wilson, Burt Bacharach, The Smiths, John Barry (of James Bond fame) and even the fanciful Amélie soundtrack (they’re film soundtrack buffs) to create music in a way that’s rarely done anymore — with the hearts of listeners in mind.

The Postmarks' second full-length actually is a covers album-- and a fine one, at that. By-the-Numbers follows the band's beguiling online-only recordings of Astrud Gilberto's swoonsome love song "Dreamer" and, more adventurously, Ministry's "Everyday Is Halloween".

The project began as a monthly series of cover songs to be posted on eMusic, but by September the group had realized they had enough material for another proper album instead. There's one (yes, slightly precious) organizing principle: Each of the songs has a number in its title, counting up from 1 to 11, until the finale, the counting-to-12 "Pinball Number Drop" originally sung by the Pointer Sisters for "Sesame Street".

The Postmarks trade, at least partly, on atmosphere: twangy surf guitars, rumbling tympani overdubs, spy-flick strings, Tim Yehezkely’s calm, unfettered croon. Memoirs At The End Of The World, the band’s third album and second of originals, the band have crafted their moodiest, sturdiest arrangements yet, and the results sound sumptuous

This album encompasses electronic, futuristic elements, along with their orchestral arrangements that sound from beginning to end like a journey through a Film Noir spy epic. The first self-titled album had aspects of the soundtrack influences, but didn’t capture it as much as Memoirs.

 

RIYL: Belle & Sebastian, Club 8, St Etienne, Autour De Lucie, Ivy

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