PRESS

Personalized

Delusions Of Adequacy
http://www.adequacy.net
Sounding like a bag of sunshine is no easy task; the same goes for harmonizing like the Beach Boys. It’s not as easy as it looks/sounds. And in the hands of lesser musicians, such a task would be rife with embarrassingly off-key vocals and cheesy major chords. However, if you are a member of the Channel, you have nothing to worry about. You are in a band that has created just about the best thing I’ve heard so far in this young year (the best goes to 50 Cent’s new single). Granted, Personalized was released last year, but hey, it’s new to me. The Channel is a family affair, with five Penningtons (Brent, Colby, Heather, Rebecca, and Kimberly) rocking such instruments as the mandolin and trumpet alongside standard fare wielded by the brothers Reaves and Adam McAllister. They almost have enough people to challenge the Polyphonic Spree to a game of capture the flag. As it stands, the Channel managed to release a timely and delicious album filled with country-tinged pop ditties with strange effects that make the vocals seem other-wordly. There’s also something completely retro about the Channel: “The Salty City” sounds like a lost cut from the Butch Cassidy and the Sundance Kid soundtrack, and like the Decemberists, the lyrics are filled with over the top whimsy: “Old Marry Weather / Pull yourself together / There’s nothing to get worked about / Walking around / You followed a clown / And there’s no reason to shout." It’s even backed with a waltz beat. Ah, sweetness. And not the treacly kind, but the light-hearted nostalgia-free head-scratching kind, which is a bit of a brain twister considering the music, but whatever. Other songs are as neatly packaged as Christmas gifts, including a Will Oldham cover, “Black”. If there is justice in this world, the Channel's many members will soon find themselves the darlings of MTV2. Until then, I’m content with “Personalized” being my little secret.

Slightly Confusing to a Stranger
http://www.sctas.com
I've recently read a lot of reviews that compare the band of interest to Neutral Milk Hotel, and each time I question this as genuine. I first was introduced to the Channel by a friend who was of the conviction that they were. They are, but not in sound, only in that they are producing art that is different from a lot of static that floats out of indy-experimental-america. In composition, Channel's sound is reminiscent of Elliott Smith's Figure 8, but not his lyrics. Rather the mood of this album is some sort of combination of Smith¹s beautiful melodic voice and the mass of joy and confusion resonating in Of Montreal. And somewhere at the end symphonic closure steadily rocks the sound into silence in a sweet glorious soundscape where Sufjan Stevens blossoms.
Watch this band closely! And while it may take time, these sounds and ideas are reshaping and reconfiguring disorganized underground post-rock with the eloquence of the Boston Symphony Orchestra.
Note: this music is "heard" rather than "listened to". The diction contained within these rather lofty poetics (with the exception of "Water's Covered Me"'s declaration of a"wish to see my wife again") is in no way distinguished enough over the flow of Channel's well-orchestrated sound dynamics to leave the listener with inspiration to track down specific quotes in online lyrics databases. The Channel has desegregated lyrical voice into their orchestra¹s purpose, so that you don¹t have to clean up those mental disturbances often created by NMH-esque artists.

CDREVIEWS.COM
Reviewer: Ra Larden www.cdreviews.com
Is it cold where you are? Is it gray and dismal? Is it raining? Roll on the summer, say I, roll on blue skies, sunshine and bikinis. I’ve been humming this mantra for a few days now, but it seems someone neglected to put godlike powers into my stocking this Christmas, so I have to have the next best thing. The Channel – summer in a disc. God bless them for releasing this in the winter. We’re all familiar with the Americana sound by now. Mercury Rev, The Flaming Lips, The Spree, The Thrills – they’ve all been mining the seam of high voiced, psychedelic influenced, major key burblings that the Beach Boys first unearthed nearly forty years ago. With harmonized vocals, layered melodies, and wait… is that a theremin? *the channel are a worthy addition to the roll-call of artists at the coal face. With the intro track, ‘Depersonalized’ we are in low-fi territory as bleeps, whistles and scrapes scroll past a simple acoustic and piano arrangement. The entry of the percussion also brings sampled voices and sliding distorted guitars. This is the sound of *the channel, harmony and melody courtesy of the Beach Boys, production techniques courtesy of Sonic Youth and Pavement. One of the best things about the album is that each track has something new to offer – be it the resolution of the discordant harmonies in ‘Personalized’; the glockenspiel in ‘Follow You’; the bells in ‘Water’s Covered Me’; the change to 3/4 time in ‘June’; or even the way that during the end of ‘Inhibition’ the track manages to slow down and build up at the same time. But bear in mind, ye unwary, the vocals are always double tracked or harmonized, even on the last track, which is a cover of Will Oldham’s ‘Black’, (and which sounds eerily like the theme tune to Firefly) and the main vocals are almost invariably backed up by yet more vocal textures. It is accomplished impeccably and there are both male and female vocals present here for welcome contrast. Enough chatting, break out the deck-chairs and shades, and pour me some Pimms; I think the sun’s about to come out…

Reviewer: Dan Miller www.sponiczine.com (4 out of 5)
The cover of The Channel beckoned me to explore the four-panel CD insert before listening to the album. That’s where I went wrong. Instead of the usual “lyrics + credits” arrangement, the insert contains a confusing story about the merits of becoming “depersonalized.” After reading it three times and still not being able to make any sense of it, I was haunted by the notion that either this quintet was still in middle school, or I simply wasn’t cool enough to get what they were trying to say. I decided to let the music be the judge. That’s when I got schooled. While this album touches on several modern influences (the Flaming Lips come to mind), the roots grow much deeper. Instead of sounding like many of today’s third-generation Beatles-influenced acts, The Channel sounds more like the more original Beatles-inspired bands of the ‘70s. Vocal harmonies saturate the entire album, but without grating falsettos. Instead, the lovely voice of Heather Pennington is the perfect complement to the vocal talents of her brothers, Colby and Brent Pennington. Think of a toned-down version Lennon’s vocal barrage in “Because,” and you’re close. The album is largely organic and acoustic guitar-driven, sewn together with well-placed samples, electric guitars and keyboards. “Follow You” and “June” captivate while “The Salty City” breeds feelings of nostalgia. There’s nothing flashy about the instrumentation, and no overwhelmingly catchy hooks on the entire 10-song CD, but the album is full of touching chord changes that could easily be wrecked by flashiness anyway. These songs are laid-back, mid-tempo gems with enough electricity and dynamism to call for a repeat play. Fans of the Beatles, Flaming Lips, CSN and 10cc (yes, 10cc fans do still exist) will find something to love here. The Channel, a modern band with modern influences, is apparently untainted by modern excesses. It is refreshing to hear such a homogenous mix of old school and new school from a young, promising group.

Reviewer: crooked camera www.crookedcamera.net
The Channel starts with a base of lo-fi sensibilities then adds some modern jingles and sound bytes. With polished vocals and guitar layers to output a rather extremely charming little disc. “Personalized” scratches the need for a Neutral Milk Hotel or Belle and Sebastian song I don’t know by heart. Throw in some Beatle’s harmonies and piano ballads, and you have the Channel pegged. This seems more like it’d be a better vinyl release; since the artwork is commendable and coincides with the 60’s music tense almost eerily.

Reviewer: Crash Zine http://www.crashzineonline.net (3.7 out of 4)
Smile for me once pretty baby. Very clever. The first track is an instrumental called “depersonalized” followed by track two called… you guessed it “personalized” with vocals. And let me tell you it was all good from beginning to end. It was one of the most non hybrid, hybrid records I’ve ever heard. Beautiful music. It was pure, perfect, consistent, and simple.

Reviewer: Bruce Brodeen - Not Lame Recording Company
A wonderful mix of The Minders, Polyphonic Spree, Granddaddy, The Kinks, lots of Beach Boys melodies and harmonies done Elephant 6 style(but with much better production than almost all those bands), Olivia Tremor Control and The Flaming Lips. Oh yeah.....psychy Beatles, of course. Really quite awesome, simply put.

Reviewer: Stephen Smith www.lostatsea.net
Rating: 9/10 You know that great feeling you get when you finally complete a really hard crossword puzzle? I'm talking New York Times Friday crossword puzzle. It feels great, doesn't it? It's that feeling of accomplishment doubled with the (let's face it) feeling of surprise at ourselves for actually being able to do it. It is one of the nicest feelings in the world, and if you've never experienced it, you should really give it a try; you won't find that feeling anywhere else, and I've never found anything to compare it to - until now. I got that same feeling the first time I listened to this, the second full-length record from The Channel. Right from the opening static and keyboards of "Depersonalized," I was completely hooked and there was no letting go. What came after those opening seconds was the stuff of legends. The album starts off light, with light keyboards and a very faint drum beat hiding behind the wall of static, then the beat kicks in and the fuzzy bass follows and we've got magic in our ears. These guys manage to blend electro, psychedelica and pure pop so seamlessly, it seems impossible. It's almost hard to believe my ears, even after repeated listens. It's like listening to the Olivia Tremor Control waste a holiday weekend in their basement with the Beta Band. They even manage to add in a country twinge on the danceable "Inhibition," a lovely Beatlesque ode to "June," and a spot-on cover of the Will Oldham classic "Black." I usually frown upon covers on studio albums, but this one is making me change my stance. For fans of The Flaming Lips, The Elected, of Montreal and the aforementioned outfits, Olivia Tremor Control and The Beta Band, this record will not disappoint. Most of the songs on this record could easily stake their claim in the Song of the Year running, and I wouldn't be surprised if at least one of them winds up in my top 5. So when this Friday rolls around, and you turn to the crossword puzzle in the Times, put this record on. It can only help. Trust me, you need this record.

Reviewer: j sin http://www.smother.net
*EDITORS PICK* Originally formed by brothers Brent and Colby Pennington in the late ‘90’s, The Channel saw its share of break-ups and studio recordings. Recently reformed and revitalized along with help with former members of the Austin, Texas-based band The Arthurs, The Channel progressively seeks to destroy the typical notion of indie pop for a sound somewhere between the Beach Boys and Belle and Sebastian. It’s quite invigorating and certainly fresh—like fresh sushi at the best sushi shop in town—and is going to harmonize their way to music heaven.

Reviewer: the Bee's Knees Zine - Mike Turner
I know there are many of you out there who just love those years of the Elephant 6 collective from 95-99. I think this band the Channel are in that same group. You can hear the emotion in the vocals like Neutral Milk Hotel, the slick recording of Apples in Stereo, experimentation of Olivia Tremor Control, and the country vibe of the Essex Green. This might be the start of a new era of bands that exceed what we once thought was untouchable.

Reviewer: Kissing the Cat Zine - Pixtsx
These Austin kids must be on some good stuff to create such great psychedelic summershine pop. I think this is what it would have sounded like if the Beatles and the Byrds ever got together and made a record. The only complaint I have about this record is the sample they threw in for no reason at the end of Follow You. There is this amazing girl singer who just finished one of the most hazy songs I've ever had the pleasure of hearing, and then it static crackles into some nature documentary speech. Beyond that the record is flawless.

http://www.splendidmagazine.com
Reveiwer: Melissa Amos
When we encounter new music, a limited number of responses can be expected. There are bands you'll hate immediately, bands that take some getting used to and bands that immediately earn their place on the top shelf of your music collection. The Channel falls in the latter category. Their melodies are so warmly enveloping that it doesn't take long to be hooked by Personalized.
The abbreviated intro track, "Depersonalized", is a good start. Its skittering electronic beats, thundering piano chords and reverbed guitar are the perfect introduction to The Channel's sunny electropop. By the time the title track -- second in the lineup -- begins, you're not only prepared for psych-lite retro pop a la The Beach Boys, you're actually craving it.
A knack for writing catchy vocal melodies is the most notable of The Channel's numerous talents. Each of Personalized's tracks seems to unfold naturally, as if every note was inevitable. "June" pairs a meandering vocal line with choruses of la-la-las, while "Follow You" combines male-female harmonies in a delicate mix. The projected warmth makes it impossible not to sing along; in fact, the vocals are so ingratiating, you'll likely be humming these songs long after the record ends.
Of course, rich vocals alone don't make a great record. Fortunately, The Channel backs up their harmonizing with impressive songwriting. "Inhibition" is a nearly perfect composition, pairing western shuffle with pop glitz, fiddle with electric guitar. Instrumentally, Personalized could only be considered eclectic; The Channel never shies away from accessorizing with whatever tools are at their disposal, from banjo to xylophone, harmonica to handclaps. Far from being slipshod, such additions add texture and depth to the basic guitar/bass/drums lineup. The Channel also earns recording and mixing cred for achieving that much-sought-after-but-rarely-actualized "classic pop" aesthetic.
Although not officially inducted, Personalized should easily earn The Channel a place amongst the dormant Elephant 6 collective. They're as melodic as Neutral Milk Hotel, as retro as Essex Green and as rockin' as Beulah. Above all, they've demonstrated their most important qualification: the ability to write undeniable pop gems.

Indiepages (8 out of 10)
http://www.indiepages.com
This band sounded a bit familiar to me, and then I found out that one of the core members of this band was also a chief songwriter of the Arthurs, whose album (sadly, their only one) was a hit around here a couple years ago! Well, I think the Channel have been around a bit longer, as their first album came out back in 2001, and this is their second. Like I mentioned, this band sounds a bit similar to the Arthurs at times, as well as the Minders, Olivia Tremor Control and Masters Of The Hemisphere. Plenty of full vocal harmonies abound here, with pretty much every member of the band helping out on vocals. The first two songs, "Depersonalized" & "Personalized" start the album off slowly, reminding me a bit of Grandaddy in the presentation. "Inhibition" follows, and is more upbeat, but with a Byrds-ish country influence. The next three songs are even more upbeat, and also my favorite tracks on the album (though I was a little annoyed by the minute of random crowd noise at the end of "Follow You"). The rest of the album is filled with slower, more introspective songs like "Water's Covered Me" and a cover of Will Oldham's "Black", which closes the album out on kind of a low note.

Impact (TOP PICK)
http://www.impactpress.com
The Channel are an indie-pop outfit that incorporates trippy sounds and a folk-rock feel; using a steady dose of harmony and acoustic guitars for the right atmosphere. With a fair share of writing duties to pass around to this five-member singing band, their time apart has provided new ideas to create in what amounts to a summer of love, Beach Boys offspring. The carefree sound comes off as authentic, making this release work; it's a catchy and intricate collection that sounds as if it were effortless for them to create. (JC Carnahan)

Exclaim
http://www.exclaim.ca
February 04, 2005

Though not formerly connected the E6 collective outside of working the Martyn Leaper, Personalized is the best of its kind since the Leaper's own Minders gave us The Future's Always Perfect in 2003. Featuring the singing and songwriting talents of founding brothers Colby and Brent Pennington, with Andy McAllister, Jamie Reaves and sister Heather Pennington, the Channel's sophomore record is as obsessed with the collective's twee-Beach Boys’ Today! harmonies (think Of Montreal), intricately layered production (think early Apples in Stereo) and melodies that take more subtle and not-so-subtle twists than a Lynch script. Though kept short, the record is loaded with a surprising variety (no doubt in part to their five separate songwriters/producers), from the expected indie-pop to psych-country, boisterous folk and even a Bonnie "Prince" Billy cover, "Black," which, outside of the expanded arrangement, is awfully faithful to the original. It's a record that's experimental without turning esoteric and hugely accessible without being formulaic or easily pared down to their sometimes obvious influences. I realize that a good three-quarters of bands that employ harmonies or a Beach Boys influence get compared to E6, but don't hold it against the group; even with its faults, few take such a widely attempted aesthetic this far, and even fewer have this kind of shelf-life.

Shmat
http://www.shmat.com
I'm not sure if by the band name "Channel" this group is referring to their attempts to channel the ghosts of Brian Wilson and the Beatles into their soaringly high, harmony driven little pop tracks. But it sure seems like it. Personalized starts off with a sort of weird track that might be straight out of Slomo Rabbit Kick land, but the action soon turns elephantine. I mean Elephant 6. It's nearly impossible to avoid talking about how the band takes cues from that crowd, mostly The Apples in Stereo. And while certain songs like "Inhibition" and "Manhole" are somewhat forgettable for that respect, a song like "Follow You", with the thoughtful addition of tinkling xylophone and pretty female backing vocals, threatens to make me a very happy camper. This song reminded me a lot of Quasi, who seem to have an indie patent on that major to minor resolution which is present in this song.

Similarly pleasant is the waltz-time "Old Mary Weather" which sounds like the sadly defunct Masters of the Hemisphere. Like any good indiepop fan, I like my occasional dose of E6, but it's nice to get a band that is willing to stray from the familiar patterns that those bands utitlize. At least some of the time. When I heard the album closer, "Black", I immediately thought "Palace Brothers". Sure enough, this porch rocker is a wonderful cover of Will Oldham nee Bonnie Prince Billy or whatever name he's using nowadays. The brothers Pennington have wisely not limited their world view to a Beach Boys revival perspective, and for that their album gets a higher recommended rating than it might otherwise.
- review by SHORTY (1.26.05)