Let's Bottle Bohemia

Editorial Reviews

Barnes & Noble - David Sprague
These Dubliners turned plenty of heads with their sun-kissed debut, So Much for the City, a disc that distilled the gossamer sounds of bands like the Beach Boys and Love into a sort of postmodern oceanside campfire sing-along. While the basic elements -- chiming guitars and sighing harmonies -- remain the same, Let's Bottle Bohemia has a darker, less guileless tenor than its predecessor. Frontman Conor Deasy seems rather preoccupied with the band's success, which provides fodder for songs like the piano-driven roots reclamation "You Can't Fool Friends with Limousines" and the airy "Whatever Happened to Corey Haim?," a cautionary tale about not believing your own hype. ...
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Editorial Reviews

Barnes & Noble - David Sprague
These Dubliners turned plenty of heads with their sun-kissed debut, So Much for the City, a disc that distilled the gossamer sounds of bands like the Beach Boys and Love into a sort of postmodern oceanside campfire sing-along. While the basic elements -- chiming guitars and sighing harmonies -- remain the same, Let's Bottle Bohemia has a darker, less guileless tenor than its predecessor. Frontman Conor Deasy seems rather preoccupied with the band's success, which provides fodder for songs like the piano-driven roots reclamation "You Can't Fool Friends with Limousines" and the airy "Whatever Happened to Corey Haim?," a cautionary tale about not believing your own hype. A surfeit of strings and offbeat arrangements buoy several selections -- notably the swooning "The Irish Keep Gate Crashing," which Van Dyke Parks steers through some choppy waters -- but Deasy is undeniably the star attraction. His voice, more burnished now than on the band's debut, adds heft to the somber ballad "Not for All the Love in the World," while his hyperliterate lyrics convey a creeping world-weariness that stops just short of hand-wringing, making for a Bottle that's sure to intoxicate.
All Music Guide - Tim Sendra
The Thrills' debut record, So Much for the City, lived up to the band's name and then some. Thrilling, epic, fun, funny, and at times brilliant, it was a debut that seemed difficult to follow, and indeed, Let's Bottle Bohemia can't quite live up to its promise. It's a good little rock & roll record, though. The songs are concise and melodic, Conor Deasy's voice still breathlessly winds its way into your heart, and the band still sounds tight and wire-sharp as before. There are quite a few killer songs, too, like "Tell Me Something I Don't Know," which opens the disc with a rollicking blast of rock & roll fervor; "Whatever Happened to Corey Haim?," a bouncing pop song built on a funky keyboard line and bolstered by a Van Dyke Parks-arranged string section; the melancholy ballad "Not for All the Love in the World"; and the swirling "The Irish Keep Gate-Crashing." What is missing is the sense of wide-eyed wonder and excitement, both from the band and for the listener. The band wrote the record while touring and, like many conceived that way, the lyrics are a little forced and uninspired, the subjects not as immediately interesting as the California worship of So Much. The record is helmed by D. Sardy who has worked with bands like Bush, Marilyn Manson, and System of a Down, and he manages to pull off the deadly combo of over-produced and under-arranged. The songs are very slick sounding and most lack the little instrumental hooks and dynamic shifts that, again, made the debut so much fun to listen to. The listener can't get quite as worked up both because the band is no longer new and because the record is so obviously cut from the same cloth as So Much for the City, only now the cloth is a little faded. Still, a faded Thrills disc is more exciting and invigorating than 98 percent of the records out there, and there's absolutely nothing for the band to be ashamed of on Let's Bottle Bohemia. If this was their first album, people would be gushing over it, proclaiming that the Thrills are full of promise, a band to watch, and all those other clichés pop writers love so much. So take this for what it's worth: a really good record by a potentially great rock & roll band.
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Product Details

  • Release Date: 9/13/2004
  • Label: Virgin Int'l
  • UPC: 724386450920
  • Catalog Number: 8645092
  • Sales rank: 371,930

Album Credits

Performance Credits
The Thrills Primary Artist
Van Dyke Parks Accordion, Conductor
Mark Berrow Violin
Peter Buck Guitar, Mandolin
Michel Colombier Conductor
Caroline Dale Celli
David Emanuel Violin
Jay Dee Maness Pedal Steel Guitar
Anthony Pleeth Celli
Johnathan Rees Violin
Kate Wilkinson Viola
Gavyn Wright Violin, Leader
Dermot Crehan Violin
Ben Chappell Celli
Peter Lale Viola
Patrick Kiernan Violin
Boguslaw Kostecki Violin
Bruce White Viola
Daniel Ryan Banjo, Bass, Guitar, Bass Guitar, Background Vocals
David Daniels [cello] Celli
Julian Leaper Violin
Donald McVay Viola
Perry Mason Violin
Rachel Bolt Viola
Emlyn Singleton Violin
Warren Zielinski Violin
Simon Fischer Violin
Helen Hathorn Violin
Gustav Clarkson Viola
Ben Carrigan Percussion, Drums
Conor Deasy Acoustic Guitar, Harmonica, Vocals
Kevin Horan Organ, Piano, Background Vocals
Christopher Clad Violin
Pádraic McMahon Bass, Guitar, Bass Guitar, Background Vocals
Katie Wilkinson Khoroshunin Viola
Tom Pigott-Smith Violin
Christopher Tombling Violin
David Woodcock Violin
Peter Hanson Violin
Technical Credits
Van Dyke Parks Arranger, String Arrangements
The Thrills Composer
Michel Colombier String Arrangements
Isobel Griffiths String Contractor
Stephen Marcussen Mastering
Jeff Moses Engineer
Dave Sardy Audio Production
D. Sardy Producer
Greg Gordon Engineer
Daniel Ryan Composer
Ross Garfield Drum Technician
Ben Carrigan Composer
Conor Deasy Composer
Kevin Horan Composer
Pádraic McMahon Composer
Danzig Baldaev Illustrations
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