Cat No. 007666-5
Stars/No Stars first release on wax! A new era for the label,
as a vinyl and download only affair. And what better way to mark
the occasion than with the multi-city traveling carnival that
is Wampum. Recorded in the studios, sunporches and attics of a
half-dozen cities, Wampum is 12 tracks of the signature shamble
that Big Buildings does best.
musty melodicism and muted psychedelia channels
bits of Big Star, Buffalo Springfield, and early Yo La Tengo;
band’s songwriting instincts are so thoroughly realized
doubt thousands of dollars and a full modern studio treatment
could’ve made the record any better.
J. Niimi, Chicago Reader
(Includes bonus data CD with 24 bit tracks)
(Download codes sent via email)
Cat No. 007666-4
Don't these boys clean up nicely. Rowing across the imaginary
landscape of Water Everywhere, we find the Buildings changing
it up a bit to work with engineer Jason Ward. The chime and charm
of Jason's production lend an openness to the sound that brings
the "tape's rolling - so what" process at the heart
of previous Big Buildings releases to a brand new place.
Everywhere is my favorite local rock record of a young 2006. I've
compared their studied sloppiness to Exile on Main Street in the
past, but I'm going to have to add some other markers: a wired-up
Grateful Dead, a hippified Loaded-era Velvets (say, if Lou Reed
had left and Sterling Morrison had taken the reins), and a puppyish
R.E.M. around the time of their 1981 Athens bootlegs. (Maybe some
of those Peter Buck-Keith Streng collaborations too.) They have
an absolutely joyous infatuation with their own grainy lo-fi ululations
throughout Water Everywhere.
Monica Kendrick, Chicago Reader
Hang Together for All Time
Cat No. 007666-2
Sprawling. Epic. Totally Confused. All are appropriate to describe
the 20-song pandora's box of Hang Together for All Time. This
one's a little more challenging, we won't lie, but well worth
the effort. Unpack this one and you'll find equal parts art-damaged
experiments, early british punk, country blues and straight up
rock and roll. All handsomely collected in our very first digipak
wail and bash, channeling Bo Diddley and the Rolling Stones ("We
Are Steamships," "Streetlights"). They unplug and
go near-country ("Big Dave," "Peaceful Man at Odds").
They split the difference, like the Kinks meeting Uncle Tupelo
("Skinny Women Shaking"). One track is a distorted,
short rant followed by a song of relative sonic polish. Someone
coughed during the intro to "Quiet Landmine"? So what!
Leave it in!
Barry Gilbert, St. Louis Post-Dispatch
a lot of stuff going on here that reminds me why I fell in love
with music in the first place.
Vitas Zebratis, Glorious Noise
This is the Bricks EP
Cat No. 007666-1
Birth of a band, birth of a label. The six tracks of beer-soaked
rock capture the early days of Big Buildings getting their sea
legs and finding a middle ground between modern Americana and
buzzy punk from across the pond. This debut EP is almost
out of print.
Bob Mehr, Chicago Reader
can almost smell the beer and stale cigarette smoke.
Jim DeRogatis, Chicago Sun-Times
Judging by the photos on its Web site, there are two things the
members of Big Buildings aren’t worried about: being taken
too seriously - and their hair.
Reckless Abandon Column
Columbia Daily Review