Aislers Set / Last Match

Slumberland

Considered by many to be an unsung classic, 1998's Terrible Things Happen established The Aislers Set as a great new pop band who perfectly synthesize '60s mod-pop, '70s punk and '80s/'90s indie flavors. We'd all be hard pressed to cite a more accurate end-of-the-century summation of where pop had been and where it was heading, but what really set it apart was the stellar songwriting and arranging of Amy Linton, whose studio acumen was compared to Phil Spector more than once. The Last Match is even more ambitious in conception, upping the ante even farther into more orchestral areas. While the songs are still driving and catchy as a fish hook, the arrangements are far more sophisticated, with instrumentation augmented by a full-time organ player and various horns, giving the tunes the timeless feel of classic groups like the early Bee Gees, the Zombies and The Millenium. This brilliant exercise in pop science easily skirts the retro-copyism of many '60s disciples through its sheer songwriting power and the originality of the ideas. Tracks like "The Last Match" and "Bang Bang Bang" are bold new benchmarks, their influences being completely subsumed into Amy's distinctive vision. The band's other songwriter, Wyatt, also does himself proud with his contributions, especially the plaintive "Lonely Side of Town." Still preferring to record in the garage where they are allowed unlimited time for experimentation, the band has had no problem crafting an amazing sounding album that could have sprung fully-formed from the hallowed studios of Gold Star. This is no murky lo-fi production, but a fully rounded and rich-sounding recording with a warm, analog sound. Between the peerless songs, the clever arranging and the ingenius production, The Last Match is a golden moment for fans of pop, and should cement the band's reputation as a key pop band

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