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Recent Articles by Christian Schaeffer

  • David Bazan

    9 p.m. Friday, December 5. Billiken Club, in the Busch Student Center on the campus of Saint Louis University, 20 North Grand Boulevard.

  • Harry Connick, Jr.

    7:30 p.m. Sunday, December 7. The Fabulous Fox Theatre, 527 North Grand Boulevard.

  • Shawn Colvin

    8 p.m. Wednesday, December 10. The Pageant, 6161 Delmar Boulevard.

  • Cassie Morgan

    Pine So Sweet EP
    (self-released)

  • Trans-Siberian Orchestra

    3 p.m. and 8 p.m. Friday, November 28. Scottrade Center, 1401 Clark Avenue.

National Features >

  • Broward-Palm Beach New Times

    The Lost Season

    Here's how you become one of those people who screams at his kid's coach.

    By Bob Norman

  • SF Weekly

    Border Crossers

    Transgender hookers with rap sheets are successfully fighting deportation--by asking for asylum.

    By Lauren Smiley

  • Houston Press

    Deadly Evidence

    First, Houston's DNA lab became a laughingstock. Then its controversial director was murdered.

    By Randall Patterson

Head of Femur

Hysterical Stars (SpinArt)

By Christian Schaeffer

Published on June 08, 2005

With Hysterical Stars, Head of Femur finally has the budget to make the record that fits the scope and imagination hinted at on its debut album, 2003's Ringodom or Proctor. The band's sound has always been intricate, with brass sections hiding in every corner and tempo changes popping up throughout. Occasionally, though, the weight of ambition crushes the limitations of the songs; the plaintive "Oh You're Blue" doesn't warrant the opulent string flourishes, and it often feels that all twenty-something guest musicians are vying for the same microphone in the studio.

The kitchen-sink treatment works best on Head of Femur's manic, vaguely psychedelic songs, like "Easy Streets." While the well-orchestrated zaniness is still well intact, Hysterical Stars has a strong streak of melancholy, one that fits nicely with Matt Focht's earnest, fluctuating tenor. "Song for Richard Manuel" is a touching paean to the late The Band singer, and the saxophone soloist beautifully channels Garth Hudson's sweet, elastic tone. It's a fitting tribute to one band of genre-bending misfits from another.



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