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Yonlu
A Society In Which No Tear Is Shed Is Inconceivably Mediocre
Luakabop Records
www.yonlu.com


Singer/songwriter/multi-instrumentalist Yonlu shows influences of Spanish guitar, avant folk, ambient pop, and acoustic rock on his latest CD, A Society In Which No Tear Is Shed Is Inconceivably Mediocre. As you might glean by the prophetic phrasing in the album's title, Yonlu is an artist who makes his audience reflect over the music and lyrics similarly to Bright Eyes. His songs are observations about the world around him, the flaws and the beauty which are inherent in society, and where he sees himself in this universe.

The Spanish flavoring of the opening track "I Know What It's Like" has a palette of silky acoustics which cascade softly across the melodic passages, and then drift into an amenable gypsy-stylized chanting in "The Boy And The Tiger," which lobes into rows of wispy acoustic rock arches along "Humiliation." Yonlu's album is multi-faceted, decked in dramatically winged keyboards through "Polyalphabetic Cipher" and a fresco of beautifully scalloped guitar swags coruscating [through] "Q-Tip." Yonlu takes the term "artistic" to a new level on these tracks, which are filled with glittery guitar chords and sheathed in an ebullient veneer. The acoustic cells streaming across "Little Kids" roll with a casual stride, and watered in buckets of ambient mists along the shafts of "Katie Don't Be Depressed." The dust-motes in the acoustic guitar have a lullaby strobe along "Estrela, Estrela" which then glide into a peppy rumba-sway in "Othe Por Nos" before being saddled into a plain-clothed Beatles-esque sonorous in "Suicide." The torchlight glow of "Lusna" has a romantic flair, and the breezy strokes of "Waterfall" are kerosene in cozy ambient winds.

Yonlu's tracks create an easy listening ambience hemmed in melodic seams like The Beatles with chards of Spanish intonations and avant folk springs that recall of The Polyphonic Spree. Yonlu's music conveys a broad range of musical influences, gilded and sculpted into soft melodic pop scoops. He breeds familiarity with avant-garde nuances, creating art that demonstrates harmony among various textures and shifting currents. He melds acoustic and electronic elements as if they were made out of play-dough, and crafts frescos with world music proportions.

-Susan Frances

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