Damon & Naomi, Amor de Dias, Good Night & Good Morning | Lincoln Hall | Rock, Pop, Etc | Chicago Reader

Damon & Naomi, Amor de Dias, Good Night & Good Morning Early Warnings (Music)

When: Fri., May 27, 9 p.m. 2011

It's been four years since Damon Krukowski and Naomi Yang put out an album as Damon & Naomi. But just from listening it's hard to tell that any time has passed between 2007's Within These Walls and the new False Beats & True Hearts (20-20-20). Krukowski and Yang, formerly of Galaxie 500, figured out what they like as a duo almost 20 years ago, and they haven't wavered from it since. This album is them doing what they've always done: slow, textured soundscapes that rest at the border between dream pop and shoegaze. The songs blur into one another, becoming one long, exquisite drone. The main way to tell the tracks apart is that sometimes Yang sings in her high wavery voice, sometimes Krukowski sings in his gentle half-speaking indie-boy voice, and sometimes they harmonize. And sometimes the pristine surface is broken by Ghost guitarist and longtime collaborator Michio Kurihara, whose virile classic-rock licks crack and bite against all that languid drifting with lovely incongruity. "All through the day / Waiting for love to arrive / Watching for signs it still exists / Hoping it could survive," Yang sings on "Embers," and this nostalgic sense of grasping after an ever-vanishing, flickering light nicely parallels the duo's aesthetic interests. In some ways, Damon & Naomi are more timely now than ever—they look good through a haze. —Noah Berlatsky

As the duo Amor de Dias, Alasdair MacLean of the Clientele and Lupe Nuñez-Fernandez of Pipas set pretty melodies in gossamer arrangements that draw inspiration from the feel—though perhaps not the sound—of vintage bossa nova. They seem to be trying to make an art of wispiness and delicacy, and their debut album, Street of the Love of Days (Merge)—which is lovely if a tad slight—makes Everything but the Girl's coolly cosmopolitan early material seem bubbly and demonstrative. Only after you adjust to the feather-stroke gentleness of Amor de Dias do the album's details begin to make sense: the sudden, jagged guitar solo that cracks the calm of "Late Mornings," for instance, or the bald-faced Satie rip on "Foxes" that works perfectly as a prelude to the mood that follows. For their first U.S. tour, MacLean and Nuñez-Fernandez will play acoustic Spanish guitars and be joined by cellist Heather McIntosh. —Peter Margasak

Price: $12

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