Letters. Remember those? You can’t knock the immediacy of email, it’s true, but most of us miss those hand-written communiqu’es from lovers, family or friends. Somewhere on the envelope was a postmark, testament to a passage across actual land or sea, rather than a rapid zap through cyberspace. “That’s why the name ‘The Postmarks’ stuck with us”, says Christopher Moll, one third of the Miami trio with that very moniker. “We liked the romantic notion of a postmark documenting a letter’s journey.”
Together with fellow multi-instrumentalist Jonathan Wilkins and singer/lyricist Tim Yehezkely, Moll crafts meticulously arranged, richly cinematic music with subtle nods to Bacharach, Brian Wilson, classic British indie and vintage French pop. Had The Sundays embraced a Baroque aesthetic or Van Dyke Parks orchestrated an especially autumnal-sounding Francoise Hardy album, it might have sounded something like The Postmarks’ self-titled debut.
“We aim to produce songs that sound like they’ve always existed and always will exist”, says Christopher of his band’s chic, sepia-tinted output, and with Yehezkely and Wilkins on board, all is possible. Tim, we should point out, is a gal with a boy’s name; a beautiful, yet inscrutable individual possessed of a soft-textured voice that’s simultaneously seductive and detached. When Tim Yehezkely sings, clocks stop, people listen, and ice cream refuses to melt.
How did an Anglophile/Francophile indie band come to form in the rock cover-versions hub that is South Florida? Well hold up – let’s not get ahead of ourselves here. Let’s start by pointing out that, pre- Postmarks, the Miami-born Jonathan had played with Christopher in Brazilica music/Stereolab-influenced indie outfit See Venus. Prior to that, moreover, Jonathan had been based in San Francisco scoring music for independent films.
Christopher – born in The Bronx, NYC – had already established himself as a gifted composer, arranger and producer around Miami, Fort Lauderdale and West Palm Beach. He also shared Jonathan’s passion for film music, and as Jonathan tells it, the pair’s friendship was sealed by a shared appreciation of the score for the 1973, Christopher Lee and Peter Cushing-appointed gore-fest Horror Express, a flick they’d both seen as kids.
By 2004, See Venus was no more, though, and Jonathan was periodically DJ-ing at Dada, a West Palm Beach venue that sometimes had open-mic nights. One evening a girl with a boy’s name got up. It was Tim Yehezkely, of course, and when the enigmatic, Tel Aviv-born singer managed to silence then enthral the normally rowdy crowd, Jonathan made sure to approach her afterwards.
“That night was actually the first time I had performed in front of anybody”, recalls Tim. “I’d been writing songs and demoing them at home, but just for myself really. It was me with my guitar or me with my accordion.”
“I didn’t want to make her nervous”, adds Jonathan, so I arranged this kind of secret audition for the project I knew Christopher was working on.”
“I think Jonathan had ulterior motives, actually”, chips in Christopher, laughing. “But yeah, he spoke to Tim, and the next time she was playing he lured me out from my cave to take a look for myself. She was amazing. I fell in love immediately.”
That ‘cave’ Christopher speaks of is his home studio in Coral Springs, North of Fort Lauderdale. You could call it an Aladdin’s cave, actually, for the place is festooned with vintage keyboards and all kinds of exotic instrumentation. It was there, overlooked by a poster of the sleeve art for John Coltrane’s Blue Train, that The Postmarks recorded a beguiling debut album scored for strings, brass and woodwind. During the daytime sessions, swarms of yellow/orange butterflies would sometimes flit past Christopher’s second floor window at treetop level.
It’s worth reiterating that the influence of film / film soundtracks on The Postmarks’ music cannot be overstated. “Our album has very few direct references as far as other bands go”, says Jonathan. “We’re much more influenced by composers like John Barry and Ennio Morricone, plus lesser-known guys like Les Baxter.”
When resident Francophile Tim is asked what inspired her impressionistic, evocative lyrics on the album, moreover, she’s quick to cite Jean-Pierre Jeunet’s magical 2001 film Am’elie as a touchstone. “I fell in love with that movie, that director, and Yann Tierson’s music for the film”, she says. “Something about the world Am’elie creates and the emotions the film brings out just resonated with me.”
You’ll remember that, earlier on, we mentioned Miami being sorted for bar bands playing cover versions. Jonathan points out the city has never had its own music genre ‘scenes’ as such, and that this probably explains why successful acts from the Florida locale – hello Marilyn Manson, Gloria Estefan and Tom Petty – have tended to be a musically diverse bunch.
“At times we felt like we were on a desert island”, says Christopher picking up the theme of musical isolation. “We had to set this flare off to let people know we were alive. When we finished recording the album we firmly believed we were onto something, but we wanted to bring in a bigger name to mix it – Someone we respected. That’s where Andy came in.”
Ah, yes – Andy Chase. Though the likes of Richard Hawley and Sean ‘High Llamas’ O’Hagan also had dealings with The Postmarks, it was Chase – founder of Unfiltered Records and esteemed producer of acts such as Ivy and Tahiti 80 – who mixed the rather wonderful CD you hold in your hands. Andy was particularly taken with “Goodbye”, a choice nugget that would bed-down beautifully on a solo album by Mama Cass, and which has since benefited from a magical animated video courtesy of Kirby McClure and Julia Grigorian, AKA acclaimed Los Angeles-based directing duo, Radical Friend.
At the time of writing, The Postmarks have finished working on By The Numbers, a 12-part series of cover songs that US website eMusic are offering as free MP3 downloads on a month-by-month basis. Christopher, Tim and Jonathan have already filed unique takes on Bob Marley’s “Three Little Birds” and John Barry’s “You Only Live Twice”, and currently have David Bowie’s “Five Years” in their sights.
The group’s ace debut album is out in the UK 28th July so maybe The Postmarks will venture here soon? “That would be great!” says Jonathan, audibly excited at the prospect. “If Mr Branson could avail us of one of his airplanes or balloons we’d love to!”
Who would’ve thought that the swingingest Silverlake band would be born, bred and based right here inMiami? Not us, that’s for sure. And probably not anyone who frequents Spaceland either. But that’s what’s up with The Postmarks, who send us positively la-la. Fronted by the delightfully divine Tim Yehezkely, The ‘Marks are making a mark all right, and not just in Miami and Los Angeles. In fact, the act’s been making tracks all over the whole wide world. With a free e-music series of monthly covers constantly adding to their oeuvre (their take on Bowie’s “Five Years” is exceptionally exceptional), and remixes by James Iha and Spookey Ruben of Ladytron fame rounding out their first LP, global domination seems assured. Not bad for a group who manufactures its deep, cool melancholy in a “heartbreak factory.”
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(Rated 11 out of 13)
The Postmarks seem to have a love of past times; even their name is a reminder of life before email took over as our favourite way to communicate. “Goodbyeâ€, their new single, is one that is infused with this old school charm. There is a rose tinted 60s sound running throughout its gentle pop tones; husky but cute female vocals from front woman Tim Yehezkely (no that’s not a typo), brass, staccato guitars, bass that’s so low and resonant it sounds like a double. The tune has a cinematic vastness to it: the sound of a Parisian romp in the summer time as seen in a 60s spy thriller; slightly mysterious, poppy with a sweetly catchy tune, light and airy but also full of longing. This tune is addictive after just one listen, one of those haunting songs that drives you nuts unless you put it on and listen to it over and over again.
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South Floridians The Postmarks have no shame in being influenced by the summery shimmer of Brian Wilson’s production technique, but fortunately they’ve got the chops to at least bring their own invention to the table. Opener ‘Goodbye’ is a delightfully shiny twinkly pop tune that craftily marries quite bittersweet lyrics to a buoyant tune, the defiant march of somebody walking out on a bad relationship.
The same cutesy-sombre sound bleeds through the album, lead singer Tim Yehezkely has a strange kind of processed sounding voice – or perhaps its just been a touch over-produced – but she manages to convey both a sense of passion and distance in a kind of twee-robot way. It contrasts nicely with the rich instrumentation on display here; impressively arranged by the band’s remaining members – Jon Wilkins and Christopher Moll.
Despite the obvious ‘Beach Boys’ influence and sunshine coast upbringing there’s something pleasingly rain-soaked about the tunes here, as if staring out the window at the coast as the storm clouds spit down on your holiday plans. This is a refreshing touch in a time when too many bands are striving, struggling and failing to capture that sun-kissed sixties sound. This is not a great album, it suffers from being a touch too slumberous, but it’s a dreamy, lucid record that stands out amongst the rather lazy pop that swamps the airwaves in the late-spring / early-summer.
4 out of 5 stars
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How cool are the Postmarks?! They sound like the soundtrack to some New Hollywood movie like I Heart Huckabees or Little Miss Sunshine. Feel good sugary music with integrity, the Postmarks are our new favourite band. We really hope they do as well as they deserve. Look out for the song ‘Goodbye’ which is the next single.
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The Postmarks are on a journey into sound. The band’s roots are in South Florida and they’re set for an international stamp of approval in tonight’s Almost Famous, Deco’s Aubrey Aquino is jammin out with The Postmarks.
The postmarks are delivering a new sound out of the South Florida music scene.
Jonathan Wilkins: “I would call it just plain rock and roll or post new romantic that’s good too, gangsta pop, gangsta pop is good.”
OK, not exactly, don’t listen to the drummer. The trio’s lead singer better describes it like this.
Tim Yehezkely: “It’s relaxing and dreamy for a day you want to spend inside and listen to music and relax.”
Chill, atmospheric melodies to set the mood.
Deco caught up with the group in downtown Miami at the Vagabond lounge. This indie band is a local product, spawned in the MIA and like the images in their video for the song “Goodbye,” they hope their music travels as far as their Postmarks name suggests.
Christopher Moll: “It was kind of like a way to denote, a journey that a letter had been on, and in a way good music works in the same way, people remember where they were the first heard a song.”
The threesome’s now set to make a u-k debut, but it’s always good to play at home.
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Best Local Album (2008)
Although most local bands figure the best way to start out is to play as much as possible, the Postmarks took the opposite tack. They didn’t play out — at all. Instead they holed up in a studio and polished their blend of bookish, sticky-sweet Anglophilic pop until it was totally ready for the harsh light of the South Florida day. And — voilà ! — the band’s self-titled full-length, released by Unfiltered Records, boasts 11 nuggets of jangly, twee indie goodness. For good reason, it had everyone at Pitchfork, Spin, and even Rolling Stone in a lather, and the Postmarks watched as their star rose meteorically everywhere except at home. That’s changed a bit, and the band has thrown us a few bones by performing around the tri-county area a little more often. Meanwhile, the quality of the record has been so universally agreed-upon that it was recently released in its sort-of musical motherland — the UK. Time will tell if the scrappy hometown trio can beat the Brits at their own game.
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Band of the hour: The Postmarks
“Where in Europe are you guys from? Denmark, Sweden?” an adoring fan asked The Postmarks after a recent gig. This homegrown South Florida band often has a hard time convincing listeners that they are indeed from the Sunshine State. With a dreamy French pop sensibility, this indie group’s breakaway hit “Goodbye” encompasses what The Postmarks are about—saying goodbye to the past and embracing a fruitful future.
“We’re about taking a difficult experience and making it sweet—a bitter melancholy that makes you feel good,” explained ethereal chanteuse Tim Yehezkely. Born in Tel Aviv, Yehezkely fronts this three-piece outfit and was discovered by bandmates Christopher Moll and Jonathan Wilkins at a local open mic night.
Writing with the varied influences of Brian Wilson, Burt Bacharach, The Smiths, John Barry (of James Bond fame) and even the fanciful Amélie soundtrack (they’re film soundtrack buffs), this group has taken a cue from musical giants to create music in a way that’s rarely done anymore—with the hearts of listeners in mind. “We want to write songs that sit comfortably alongside those classics. Our own compositions that will stand the test of time,” said Moll.
With their album set to drop in the UK early this summer, The Postmarks are still coming to grasp with their ability to inspire audiences both near and far. “To me, one of the biggest pleasures is to get e-mails from people around the world who react to your music the way that you intended them to,” said Moll. “That’s pretty amazing stuff.”
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Signed, Sealed, Delivered
The Postmarks reach the U.K.
A year ago, with the release of the band’s self-titled debut, the Postmarks instantly became the most critically acclaimed band in all of South Florida. Indie press stalwarts such as Pitchfork Media praised the group’s gorgeously arranged pastoral sounds. Acclaim by mainstream giants like Rolling Stone and Spin magazine further brought their music into the national spotlight. Even the self-appointed Queen of All Media, Perez Hilton, gave the album rave reviews on his mega-popular blog.
Yet for all of the band’s stateside accomplishments, multi-instrumentalist and main composer Christopher Moll still had one unrealized aspiration on his wish list — to release his band’s record in England. A lifelong Anglophile, Moll collected imported issues of British music weekly NME as a teenager, the jangly sounds of ‘80s and ‘90s alternative sounds there filtering into his present-day band. And finally, after all these years, his dream is coming true: Friday’s party here in Miami marks both a rare local appearance by the band, as well as the launch party for the British edition of The Postmarks.
“Its amazing and frightening,” says the 36-year-old Moll. “I’ve been following the English music scene since high school. To have my music finally released over there is something I would have never dreamed possible. Hopefully we’ll be well-received. The music comes from an honest and sincere place, so all we can do is put it out there and hope that people enjoy it.”
To mark the record’s June 23 British release date, the band, comprising Moll, drummer Jonathan Wilkins, and chanteur Tim Yehezkely, are flying in several members of the British media for a “preview” show at the new downtown Miami club, the Vagabond. The hope is to build some buzz in the always-temperamental British music press, as well as offering a free concert for the group’s hometown fans.
Still, for Moll the concert will be only one of many highlights in a year full of triumphs, among them being asked to appear on the ever-popular Nickelodeon show Yo Gabba Gabba. “That was a definite highlight,” Moll says. “Since I was a little child I had dreams of appearing on the Dinah Shore show… of playing with a band where each one of us was on a different colored tier stage-wise. I mentioned that idea to the producers of Yo Gabba Gabba and they made it happen. That childhood dream checked off.”
As for their sophomore album, the band has started working on songs, but nothing is definitive yet. “The second record is coming into focus,” says the always-meticulous Moll. “We have rough demos for at least 25 to 30 songs, with some fairly polished off demos for six to seven strong that are contenders for the second album.”
For now, however, the group’s sights are set on Friday’s show. “All we can do is put on the best show we can,” he says. “Plus, we have a couple of new tricks up our sleeves.”
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The Postmarks: I’ve always liked their music, and after seeing them live, I like them even more. Singer Tim Yehezkely has a soft, plaintive, little-girl voice and a stage manner that appears slightly bored. But it works wonderfully with the music, which has the air of a French movie from the 1950s, with a beautiful woman sitting at a cafe, too chic to be bothered by the things around her. It’s as if Tim was just standing on stage in her T-shirt singing about being so over her boyfriend, and the band was so transfixed that they just set up around her like birds tying ribbons in the hair of a Disney princess. I heart them.
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With haunting, heartsick ballads and rosy pop melodies, the Postmarks evoke a bittersweet nostalgia, like the feeling recalled by unearthing faded photographs and letters from long ago. Lyrics of love lost, delivered by standout songstress Tim Yehezkely, play perfectly against the instrumental creations of Christopher Moll and Jonathan Wilkins for a sound that’s at once refreshing and timeless. Riding the success of their self-titled debut album, the three return home after an appearance at West Palm Beach’s SunFest to break in the Vagabond’s newly remodeled stage, following a rare but welcome wine tasting in the indie venue.
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Hometown: Miami, Florida.
The lineup: Tim Yehezkely (vocals), Jonathan Wilkins (guitar), Christopher Moll (bass, percussion).
The background: The Postmarks are displaced Francophiles, making’60s-influenced ba-ba-ba pop that reeks of Gauloises and turtlenecked Euro beatnik chic. They are at the interface between lounge muzak, dreampop and twee/anorak, a cutie version of Cowboy Junkies/Mazzy Star’s narcotic alt.country, Slowdive minus the feedback or Stereolab without the electronic effects.
Singer Tim Yehezkely may have a boy’s name but she couldn’t sound more girly if she tried – specifically she sounds like such soft-voiced French chanteuses as Francoise Hardy or Jane Birkin, or Brazilian Tropicalismo icon Gal Costa: she doesn’t so much sing as sigh her songs of post-teenage heartbreak, over orchestral, “chamber-pop” arrangements that are pure Left Bank meets Brill Building, with nods to Burt Bacharach, Henry Mancini, and Sunflower-era Brian Wilson.
This sort of stuff used to be all the rage in the ‘90s, a Eurogirly antidote to all the male-dominated Britcentric lad-rock then rampant, with groups like St Etienne, Komeda, Autour De Lucie and Adventures In Stereo rescuing Bacharach and lounge/”exotica” from kitsch hell and allying it to an indie sensibility.
The Postmarks, who recently played the Langerado Music Festival in Florida alongside REM and the Beastie Boys, caught the ear of producer Andy Chase, who’d already worked wonders with brilliant French-pop act Tahiti80 and who agreed to mix their full-length studio recording. Moll had served time with See Venus and timewellspent, while the varied musical talents of Wilkins, a long-time collaborator of Moll’s, breathed life into the latter’s compositions, written in tandem (and probably on a tandem) with Yehezkely, who used to indulge in hiss-tastic lo-fi DIY experiments before discovering the joy to be had from whispering wanly over aching minor chords.
The buzz: “A suburban bedroom symphony and some of the most complex and sophisticated pop music around, a self-contained, hermetically pure world of orchestrated, swooningly cinematic lusciousness.”
The truth: It’s very Sarah/C86, but fans of The Sundays and The Cardigans will love it.
Most likely to: Make you want to drive down to the Seine.
Least likely to: Drive you insane – it’s too mellow for that.
What to buy: The Postmarks’ self-titled debut album is released by Unfiltered on May 19, preceded by the single Goodbye.
File next to: Belle & Sebastian, Club 8, St Etienne, Autour De Lucie.
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Related if you like: Mazzy Star, ballads by the Cardigans, Ivy, the Concretes, perhaps Keren Ann.
We’re going to slow it down a notch today with this lovely, lo-fi video from The Postmarks. We like it when girl singers just stare at the camera from under their eyelashes without singing. Really, it’s quite beguiling.
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December 19, 2007
MSNBC
“Yehezkely, a girl with a guy’s name, has a voice to match her beauty. She’s also 25. She’s a chemistry student, but her passion is music. “In college, I was trying to figure out what I loved doing and I didn?t know, so I was just trying everything,†she said. “I found out that I really loved writing songs.†Yehezkely sings for a local band called the Postmarks. She said she admits that all the attention at a recent photo shoot was a bit overwhelming…”
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TIM YEHEZKELY
25, Taurus
Singer
It might surprise you to discover the next great American talent is a chemistry student at FAU in Boca. It surprises her, too. “I write songs for fun but never thought I’d wind up in a hit band receiving international attention.â€
Tim Yehezkely—whose first name isn’t abbreviated and often gets her mistaken for a boy—may have inadvertently stumbled into her gig as the silky-voiced chanteuse of The Postmarks, but the nouveau-pop trio scored huge with their eponymous debut, praised in Spin as “enchanting and multidimensional†and hailed by the on-line music authority Pitchfork Media as “a contender for Album of the Year.â€
Born in Tel Aviv and raised in South Florida, Tim admits her musical leanings began in the fourth grade, when a penchant for “strange instruments†fed her childhood dreams of becoming an oboe player. “I got braces, so I gave up the oboe, took up guitar and taught myself how to play accordion and piano. I wrote my first song when I was 13 for a band called Gilligan’s Bitch.†At 21, she braved the stage at open-mic night and caught the ears of musicians Jon Wilkins and Christopher Moll. “On that fortuitous evening The Postmarks were born.â€
Recorded wholly in Coral Springs, the album combines the instrumental erudition of French pop with simple melancholic lyrics, served up blissfully by Tim’s charming vocals. It’s the perfect companion for mending broken hearts on rainy Sunday afternoons, music inspired by “falling in and out of love, movie soundtracks, and everything French.â€
Her success—her band is set to release their sophomore offering, a collection of covers—has not persuaded Tim to abandon dreams of becoming a pharmacist and changing the world. “I study chemistry because I want to understand the fundamental laws of the universe. If I can make the world a better place, even in a tiny way, then I’m fulfilling my purpose.â€
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8.2
The Postmarks’ self-titled first full-length release is a stellar display of talent and technique for this up-and-coming trio. The listener is invited to take a mellow stroll through a field of ambient strings and horns from this south Florida band.
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“We’re thrilled and proud that one of our favorite new bands, The Postmarks, are from our hometown of Miami. Especially because their music is as un-Miami as it gets!
You’d expect to hear The Postmarks in a really cool French film.
Their sound is pretty pop with a retro feel.
The Postmarks are like a really good glass of wine, rich and sweet and enjoyed in small sips throughout a long and lovely dinner.
Enjoy three lush songs below, Let Go, Weather The Weather and Goodbye. Their songs are so good, we can’t just single ONE out.”
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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.
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Miami is not typically a place to inspire twee, intelligent Euro-pop.
Most notably because the weather is in a general constant state of
bliss, which doesn’t help much for those bands inspired by
consistently shifting skies and the need to reflect on the humble
feelings of love lost when you can be getting over it with a South
beach salad and your Speedos.
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The three members of the Palm Beach County band The Postmarks sat outside the Barnes & Noble store in Boca Raton last week, nursing iced coffee drinks and chatting about what is going to happen to them.
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Like a hot bath with all the suds at the end of a hellish week or a bad breakup, the debut release from the nouveau pop trio The Postmarks is a soothing (if a bit melancholic) album.
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Sure, it sounds a lot like Ivy and was produced by Andy Chase from, er, Ivy, but The Postmarks record is so sugary it’s amazing it doesn’t melt. So The Postmarks aren’t breaking new ground with this mix of retro French and Bacharach-style pop productions layered with the mellow purr of gal singer Tim Yehezkely. So what? It’s still fabulously fun to listen to.
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Broward County’s the Postmarks have the music industry paying attention to their sugary sounds in a big way. It may have taken two years to put out their debut, self-titled album, but now that it’s on shelves, everyone from Spin to the New Pornographers seems to want a piece of them.
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This three-piece from Miami is on the same label as Ivy, which is fitting. The Postmarks are a fey chamber-pop band led by the fresh-faced girlie-voice chanteuse Tim Yehezkely. On this, their debut, the weather is always sunny and warm, even when she sings “Looks Like Rain� and “Summers Never Seem to Last.�
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There’s no shortage of modern twee pop these days, with bands such as Belle and Sebastian and Camera Obscura taking the lead, and newer acts such as Stars of Track and Field and this Florida band following in their footsteps.
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The Postmarks make music that, at times, is part Burt Bacharach, part Beach Boys, and part folk rock. That’s an odd blend in 2007, but this emo-pop trio knows how to bring it together.
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You always have to be a little suspicious of any bedroom pop outfit that’s too eager to leave the confining comfort and shelter of the bedroom for a place in the big, scary world. So when Postmarks front-woman Tim Yehezkely finally takes the tape recorder out of the spare room and into the public sphere – all with a little trepidation, mind you – it’s only natural that The Postmarks sounds a little hesitant, shy and nervous. We’d probably start to wonder if it didn’t.
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On its debut album, this Miami threesome mines the same vein of indie folk popularized by Camera Obscura, and Belle and Sebastian. With nods to Brian Wilson and Burt Bacharach, and with frontwoman Tim Yehezkely’s hushed, melancholy vocals, The Postmarks received significant airplay even before its February release.
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Not too long ago, I considered a move to Miami (ready, Art Brut?). As live music scenes go, it ain’t exactly the next Stockholm, let alone New York. Better known for club-oriented sounds, South Florida also turns out to be the home of the Postmarks, whose self-titled debut may prove to be one of 2007’s most sublime indie pop albums. (Move over, Rick Ross!)
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Who? Miami newcomers the Postmarks – singer/songwriter Tim Yehezkely, and multi-instrumentalists Christopher Moll and Jonathan Wilkins – are an unconventional trio with a flare for lucid ambience and smooth melodic tones. On their self-titled debut, out via Unfiltered Records, the Nuevo-pop outfit craft enchanting multi-dimensional music melding their poetic creativity with Brian Wilson-esque orchestrations.
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America’s next great pop band just happens to hail from South Florida. Surprised? So are they By JoseÌ Davila Published: April 5, 2007 There’s no shortage of bands composing ditties about love and loss in bustling alternative music sweet spots such as London and Brooklyn. Even so, if an indie group is capable of producing gorgeous modern ballads while residing in sleepy strip-mall South Florida, you can bet the players are tapping into some good vibrations.
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