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  Father/Daughter Records  
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This is a Field Mouse record. Sort of. I have reviewed a few Field Mouse records here in EvilSponge, but astute fans might have noticed that i have (so far) skipped over 2014's full-length Topshelf Records debut, Hold Still Life. Personally, i have some issues with that album. It is flawed and not what i wanted it to be. It takes me a while to articulate that type of thing, but i will get to it in time. Stay tuned, gentle readers, for that review.

In the interim, while i debated Hold Still Life, Field Mouse vocalist Rachel Browne released this EP by her side-project. Kind of. Anomie is Ms. Browne on vocals and guitars along with Andrew Furtal, the guitarist in Field Mouse, who here steps back to play bass for her. They are joined by Eric Slick, who appears to be a busybody drummer in Philadelphia, which i guess is there they live now.

So this is music made by a trio consisting of 50% of Field Mouse, and featuring the same vocalist. The tone, however, is different. With Field Mouse Browne and Furtal play homage to the dream pop bands of the 1990s -- Lush, Ride, etc. Anomie has more of a 1990s indie pop sound than straight up dream pop. It's a subtle difference, but there it is.

The EP starts off with So Long, a sparkly indie pop tune that reminds me of something Belly might have done, or Bettie Serveert early in their career. It's fun and catchy.

Of You is a little slower, her voice kind of sliding against a rumbling bass riff driving the song. It's only a minute and a half long, but pretty nice, Furtal turning in some great work here. Overnight is even shorter at less than a minute. It is a really beautiful little interlude though. Bass rumbles and her voice is echoed and distant, while a keyboard tinkles again fuzzy guitar. More like this please, Rachel.

The EP ends with its longest tune, the epic four minute Funny How. Here Browne and Furtal get their new wave on. The guitar is echoed and distant like Peter Buck on Fables of the Reconstruction, while her voice is recorded differently somehow. It is more up front and breathy than on the other tunes. The first minute of the song is lo fi then it flips and it is rich and lovely. This vaguely reminds me of Lush, or perhaps late Pale Saints, after Meriel Barham took over the vocals. I like this song, but then again it is the most Field Mouse tune here.

Overall, this is a pretty cool EP. Field Mouse fans will no doubt want to hear it.

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