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LPH030 artwork
Let's Play House

We've been sitting on this one for a while. COEO first came to our
attention over a year ago, and while we scooped up the tracks included
on their LPH debut, Sunkist, right then and there, due to scheduling
snafus and a bursting-at-the-seams calendar, we weren't able to place
the EP for months and months. That said, considering the sheer
euphoria and brightness of the record, it seemed only right to unleash it
into the world in August, when the days are longest, the BBQs most
frequent, and you can't walk a block without passing a rooftop party or
backyard blowout.
COEO, which is comprised of Florian Vietz and Andreas Höpfl, two
Münchners, already have a couple releases to their names—an EP for
Dabit, an appearance on a Sccucci Manucci comp—but we humbly
consider this to be their first proper solo EP; it includes four originals
and a remix.
With “Sunkist,” it's immediately clear that these kids are fans and
followers of garage. The track is built around a bouncy bass riff that
lingers and weaves like smoke from a cigarette. Atop that is laid
chopped-up vocals, buttery smooth keys, and a touch of simulated vinyl
crackle for good measure, all staples of tunes that worm their way into
your ear and stay there for good.
The A-side is filled out with a remix from Graeme “the Revenge” Clark, a
longtime friend as well as frequent LPH party guest. Clark consolidates
the bits and pieces of the original into something squarer and more to
the point—but no less summery or peppy—while adding his own flare
(some polyrhythmic drums, extra chords, new vocals, bleeps and
bloops). From there, we gently ease into the B1, “Be,” a cut built in a
similar way to the A1, but with a bit more in-your-face punch and a
pressing air. The record is concluded with “Thinkin' 'Bout You,” a
swinging, sax-laden tune that flutters around the upper registers more
so than the others.
The fellas presented us with such a wealth of awesomeness that we
figured we'd tack a bonus song onto the package, something we've not
done in a couple years. “Good Love” acts as a sort of summary of the
tracks that preceded it: it's fidgety and twitchy—but not in an
overwhelming way—and, simultaneously, easy on the ears, a glossy,
sugary confection you'll find yourself returning to time and time again.

Published: August 4, 2014