June 20, 2007
Amplifier

Naïve, romantic poetry, soft, blissful vocals, and lush, bedroom pop merely scratches the surface of The Postmarks. The Floridian Baroque pop group, combining the production techniques of Brian Wilson and the electro-pop of Broadcast, place themselves at the forefront of an elite class of non-traditional American indie-pop musicians. Although European counterparts Field Music, Acid House Kings, and Camera Obscura immediately come to mind upon first listen, the indelible influence of the creative, yet relatively unnoticed American indiepop scene is apparent. Be it Richard Swift on “Know Which Way the Wind Blows” or the imaginative stylings of Faris Nourallah, The Postmarks create the same type of distinct, beautiful passionate music. It’s even more surprising that a trio like the Postmarks, sequestered in the club/hiphop/booty dance beaches of Miami, could be so adept at fusing the Sound of Young Scotland andmusic of the 60’s California beaches. It’s an amazing debut album filled with bittersweet separation, forlorn lovers, and rainy days that never seem to clear. A timely release as winter’s frost gives way to spring’s chilly breezes, and one of the best new albums of the year.