The second album from this five-piece is a finely structured thing, an instrumental journey that jumps from low-key jazz-pop to more ornately decorated passages. The guitar work is meted out evenly, running from soft accents to full melodic runs. There seems to be no lack of invention, as the record breathes a warmth and easygoing relationship between the musicians.
Dominique Davison's cello work is especially noteworthy on tracks like the melancholy "Three." Caught somewhere between the breezy, intricate Sea and Cake and the well-mannered orchestration of Rachel's, the band fills a space that is often vied for, yet not usually attained. The solid, precise drums and double bass provide the steady backing needed to get such material off the ground with success. Bob Weston's production captures each instrument's comings and goings, never giving the listener a sense of overload. The integration of trumpet, trombone, and standup bass makes for an especially full sound. There is very little rock in this indie rock and yet it's not post anything, either. It's just a more baroque approach to melody, with a deft ear tuned to tones, keys, and moods -- colorful and so very far from self-indulgent (i.e., no cathartic tension-releasing moments). As the wind blows out of many a post-rock sail,
33.3 manages to create something unique, beautiful, and (most importantly) memorable.