Time For Tea
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Happy Holy Days
‘Happy Holy Days,’ 11 Acorn Lane’s quirky new Esquivel-inspired album, is a potent holiday cocktail with traces of funk, exotica, electronica, traditional European music and sounds like no Christmas record you’ve ever heard—and critics agree that’s a good thing:
“Delightful” – American Songwriter
“Accomplished musical whimsy” – Los Angeles Times
“Effervescent…wild, inventive arrangements” – Chicago Sun Times
“The holiday’s niftiest surprise” – MSN.com
Top 10 Christmas Albums of 2010 – The Village Voice
Happy As Can Be
In Happy As Can Be, 11 Acorn Lane further develop their musical philosophy of combining the neo with the retro, while continuing their trademark upbeat and uplifting sound (Comin’ Home Baby, Yes, My Superstar).
With a loving smile, tribute is made to one of their major influences, Henry Mancini (Two Little Dreamers, Grandmother’s Little Secret, Spend My Time With You).
At the end of a happy journey, the album finishes with a return to the Eastern European brothel creeping sound (The Return Of The Devious Thought).
This record continues to showcase 11 Acorn Lane’s uncanny ability to maintain the balance between accomplished craftsmanship and tongue-in-cheek quirkiness (Happy As Can Be, The Party, Too Hot).
With their sophomore release, 11 Acorn Lane return immediately to the classic rat-pack-esque sound-board (Mr Mambo, Everybody’s Here, The Bing Thing), and veer away now to continue their contemporary beat-infused sound (Gimme Some Fuel),
All the while they maintain a nod to the Las Vegas show orchestras of the famous desert lounges (Live It Up) sometimes incorporating more than a hint of French flavor (Les Amis), a touch of Mexican showdown mojo (Couldn’t Stop It) or a bit of Balkan brashness (Let It All Hang Out).
Their Eastern European influences are also revealed in more detail, with some intricately composed small orchestral barrel room arrangements (Budapest Basement, Tipsy Gypsy). A beautiful journey of kaleidescopic proportions.
On this first release, 11 Acorn Lane open their musical palette to unveil their love of the French Chanson (La Vie Est Belle, Le Sexe Au Telephone) and their soft spot for anything influenced by a certain charming je-ne-sais-quoi (Under The Moon, Je Te Cherche).
Along with the beautifully crafted French songs (and remixes thereof), they incorporate the classic L.A. studio orchestra sound, adding some fresh and exquisite material to that cannon (Martini, Painting Coconuts, The Sneak) and melting the large combo format with modern beats and pulsating arrangements (The Fox, The Desert Inn).