Lost at Sea

Excellent male/female vocal harmonies, moving percussive treatment, and a deep instrumentation lineup - trumpet, trombone, tambourine, synth, cello, sitar, and the conventional rock guitar/bass/drum formation.

It is a collection of songs that anyone - indie rocker to country folk - could find common ties to. High points for new listeners could be found in "Where Am I?" and "I Was In Pictures,"

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Noise For Toaster

A nice, heavy dose of folky-power-pop-rock, brought to you by a lovely debut artist five foot nine. Five Foot Nine works so well because they work so well with each other, showing off a kind of family-ish aspect which comes clear in every track. always willing to try something new -- be it sitar, cowbell, heavy steel, trumpets, synths -- their debut has a little something for everyone.

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The debut album from Chicago's Five Foot Nine contains revolving guy/girl vocals, infectious tracks and experienced musicianship from some of the windy cities finest.
Each track has a style and spirit of its own that is driven by the superb chemistry of lead singer Michael Hushel and the vocals of Laura Coleman.

... giving the album a uniqueness that is hard to find anywhere else and absolutely worth checking out.

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Five Foot Nine is a six-piece group with a new self-titled album that is full of charming pop songs that reference everything from the jangly guitars of the Blake Babies to the cool jazz sounds of The Sea and Cake. From the guy/girl harmonies reminiscent of 10,000 Maniacs to the vocal styling and world beat of Peter Gabriel there is something for just about everyone here.

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Side One Track One

It's not too often that I run across a band doing a unique take on Indie Pop. That's exactly what Five Foot Nine has got going, and it's working.


IRock Cleveland

...Immediate comparisons may be drawn with the New Pornographers, but a more fitting barometer may be the Billy Bragg and Wilco Mermaid Avenue sessions. Perhaps this is due to the striking backing vocals of Laura Coleman, who at times has an uncanny resemblance to Natalie Merchant...

"Back To The Tunnels," and its roots-influenced, jangle pop, is an instantly likable lead number, even if I continue to mishear the chorus as "Turn on the television" instead of "Turn on the tunnel vision." The harmonies between Hushel and Coleman on the Spanish tinged folk of "O La Moana" are another definite highlight, and I can't help but start toe-tappin and head boppin when Coleman takes the lead on the playful and soulful "Sugar."

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