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Fell's new album earns good marks on

Fell's discography is a bit complicated: Although the group's latest album, Incoherent Lullabies, was just released by the band's Australian label, Camera Obscura, it was actually recorded before the album the act released a few months ago, a platter titled A Farewell to Echoes. As it turns out, Lullabies was actually due out some time ago, but due to some health issues label head Tony Daley experienced, the record ended up being delayed. Be that as it may, timing doesn't seem to be a factor in this case, as Lullabies -- which will be released locally on Friday, September 4, at the Larimer Lounge -- just received a nice write-up on Read the full review after the jump.

Dreamy, hazy, and understated, Fell's Incoherent Lullabies is almost summed up in its title, gently catchy songs stretched out in their tempos and softly glazed in their instrumentation. The shimmering keyboard descent of "Dust on Countertops" is an early indication of the band's ear for arrangements -- it makes for a classic missing break without either disrupting the softly drifting flow of the song or the atmosphere of the album as a whole. Josh Wambeke's singing, steady but never slurred under all the swathes of echo, helps keep Fell away from simple return-to-the-'60s feelings -- there's something newer in the band's approach overall, whether in the Labradford-like chime of the guitars on "Measured" or the feeling of early Mojave 3 throughout in the often hushed singing. There are the occasionally louder moments like "Floor Song" and the majestic conclusion, "A Million Miniscule Christmas Lights" (in title and sound almost like a downer Flaming Lips highlight), but they still retain a steady deliberation. At the album's softest, on the vocal and acoustic guitar start to "25," Fell achieve their greatest impact, a sense of conversational consideration that the other instruments only enhance as they begin to appear. -- Ned Raggett,