The Sour Notes | It's Not Gonna Be Pretty

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Pop: Dream Pop Rock: Experimental Rock Moods: Mood: Dreamy
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It's Not Gonna Be Pretty

by The Sour Notes

It's Not Gonna Be Pretty is the third album by The Sour Notes released on CD January 1, 2010.
Genre: Pop: Dream Pop
Release Date: 

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  Song Share Time Download
1. Beyond Recognition
3:10 $0.99
2. Do-ers & Say-ers
3:31 $0.99
3. It's the Hair That Makes the Dress Chic!
2:49 $0.99
4. One Fell Swoop
3:01 $0.99
5. Familiar Presence
2:39 $0.99
6. One Word Emotions
3:11 $0.99
7. Time Will Tell
3:22 $0.99
8. A Cute Little Ruin
4:51 $0.99
9. The Distant Knell
4:25 $0.99
Downloads are available as MP3-320 files.


Album Notes
Songwriter Jared Boulanger must keep Brill Building hours. Last year, the Sour Notes issued its engaging full-length debut, Received in Bitterness, chased with a 7-inch single. Sophomore LP It's Not Gonna Be Pretty marks the local quartet's sharpest and most cohesive work to date. Opener "Beyond Recognition" splits the difference between the Postal Service and Say Hi, programmed beats and bassist Elaine Greer's sweet harmony building toward Boulanger's conclusive refrain: "It's all right, I don't mind." In fact, most of the album sticks to the Barsuk variety of indie rock: soft melodies with a vulnerable streak set to a revolving and airtight pop backdrop, from vindictive guitar rave-up "Do-ers & Say-ers" and synth-cushion "One Word Emotions" to the beautifully melancholic "A Cute Little Ruin." Just over 30 minutes, It's Not Gonna Be Pretty is teasingly brief, but thankfully that's an issue the Sour Notes can remedy in no time flat. - Austin Powell (Austin Chronicle)



to write a review

Brad at CD Baby

These Austin, TX pop-rockers are doing things the old-fashioned way: By self-releasing quality albums and singles at a hyper-prolific rate, they've used their self-created momentum to not only garner recognition, but also to become tighter as a band, further defining their sound and, most importantly, crafting some really strong songs. On this, their third full-length, there's no signs of that momentum slowing. While their sound is often reminiscent of early Death Cab, they make it their own by concentrating on precise expansion of the instrumentation, with each song comprising multiple sections and never missing a beat when transitioning between them. By combining that with slyly catchy melodies, they've put together a undeniably great modern pop record.