Reviews – W+C
Author: Joe Gotschall
Source: Popwreckoning
Reigning from West Philadelphia’s late “Soft Batch” scene, Whales and Cops is comprised of ex-Man Man members and half-brothers Mr. Nathaniel Cops (keys, bees, bells, percussion) and Finger Julius Mountain (drums, marimba, keys, percussion) accompanied by the multi-talented instrumentalist Otzi Bogman (trumpet, bass, Flugelhorn, keys, percussion) . Shortly after the high velocity exit from Man Man, the Great Bouncing Icebergs EP was recorded due to an energetic schedule of immediate rehearsals.
A little over 21 minutes long, the EP includes five tracks, not including the untitled track number three, which consists of a sixteen second soundtrack to what seems like a carnival ride. The first track “Futuro Futuro” starts off with an in your face polyphonic texture and a mixture of instruments that I just can not put my finger on. It reminds me of a Man Man sound mixed with a less creepy electronic version of The Beatles’ “Revolution #9”, and if you think that’s weird, you should check out the music video.
After the first track, the EP rounds out with songs like “Bosuns o’ the Yard” and “Fifty Black Marines” that are slightly mellower Whales and Cops definitely saved the best for last. Bringing up the rear, “Bent Cop,” ends the EP on a somber tone with tribal sounding percussion, chilling vocals and a slow tempo.
After listening to the EP, I’m not sure if I’ll be looking forward to a full length album in the future. This “Soft Batch” genre seems to be a little too much for my liking, but if you are into the genre, Whales and Cops is your man!…man?
Reivews – W+C
Author: Kate Bracaglia
Source: uwishunu.com
Whales and Cops’s Clint Killingsworth (Mr. Nathaniel Cops) and Tiberius Lyn (Finger Julius Mountain – don’t ask) used to be in Man Man. This explains a lot, and I’m happy to report that unlike 75% of the rest of the Philly music scene, they don’t sound like they’re trying to be Man Man. They sound like they’re trying to be Whales and Cops, an equally zany – and in a weird way, more accessible – offshoot of the C.O.B.L.’s best-loved musical oddity.
Fans (fan fans?) of Man Man love the fivesome for their circus pop antics, gypsy vaudeville tendencies and penchant for unison singing. Whales and Cops boast none of these characteristics. Instead, they offer a chord-clashy version of space-age video game pop, interspersed with random sound-effects (I note: car horns, clapping, whistles, children playing, and more) and driven by an incessant beat.
Multi-musician Ötzi Bogman (real name: unknown) is the third member of the ensemble, and contributes a wide range of stringed and brass instruments, including upright bass, trumpet, flugelhorn and more. When mashed together with percussion and keys, the result sounds a bit like high school marching band practice gone terribly awry. And we mean this in the best possible way.
Of course, not all of W&C’s tunes are capricious, ADD-inflicted monstrosities. The quiet, marimba-laced “Bent Cop” is an awesome post-rock anthem, in which the band questions “Are you bent?” only to answer “corrupt, but well content.”
Check out the video for their single “¡Futuro Futuro!” and catch them live this Sunday at Silk City. Silly good times are guaranteed by all.
Reviews – Joshua Marcus
If Joshua Marcus grew his beard longer, I could believe Sam Beam had moved north, settled in colder climes. Banjo in hand, Marcus is twangier than the Iron & Wine icon, a little less accessible, but the bones are the same. Both Marcus and Beam are technically folk singers, only because there’s nothing else to call them. They’re hardly traditionalists. Marcus’ harmonies are fascinatingly innovative, nothing like Woody Guthrie or early Dylan. he songs are dusty and unchartable, eerie but still lovely, impossible to classify. A smattering of eclectic instruments drops in every few tracks—sometimes viola or tambourine, sometimes a haunting female voice, once an accordion.- New Haven Advocate
Reviews – Joshua Marcus
Sounding like a jaded Neil Young, or an even more exhausted Will Oldham, Marcus creates deeply effective songs that are melodic but with a sense of weariness. “Reverse The Charges” reminds us that though songs of love and loss have been with us since we lived in trees, those are topics that never lose their power; we all struggle with the same juju. Sounding like a jaded Neil Young, or an even more exhausted Will Oldham, Marcus creates deeply effective songs that are melodic but with a sense of weariness. “Reverse The Charges” reminds us that though songs of love and loss have been with us since we lived in trees, those are topics that never lose their power; we all struggle with the same juju. 7/10 Foxy Digitalis
Reviews – SXS
Author: Troy Collins
Source: Allaboutjazz.com May 7, 2008
Shot x Shot embraces a highly disciplined approach to group improvisation, with an emphasis on ensemble sound, eschewing sudden stylistic shifts in favor of extended thematic development.
A young ensemble on the rise, Shot x Shot is poised for a promising future. Let Nature Square effectively captures their emotive live energy and creative potential in pristine studio sound.
Reviews – SXS
Author: Tom Hull
Source: Jazz Prospecting (CG #17, Part 2)
Shot x Shot: Let Nature Square (2007 [2008], High Two): Trivia: type “shot x shot” into google and it returns: 1 shot x shot = 1.96783571 × 10-9 m6. No idea what that means, but typographically the ‘x’ in the group name is a multiplication sign, so I figure they’re somehow related. Philadelphia group: two saxes (Bryan Rogers on tenor, Dan Scofield on alto), bass (Matt Engle), and drums (Dan Capecchi). Almost everyone writes (Rogers missed out this time). Second album. Free jazz, rocks abstractly. The two saxes don’t diverge as much as similar sax/trumpet groups, which may be why their stuff blurs a bit. Two good solid albums. Someday a great one? B+(***)