Loewenstein used to play bass in Sebadoh, and whilst Lou Barlow seems to get most of the credit for the band - perhaps because of later success with the Folk Implosion - Loewenstein contributed some of their best songs.
<*dv_3*> Doubters need only listen to this record, written and played entirely by Lowenstein, which sounds uncannily like Sebadoh. This is, obviously, a great thing.
<*dv_0*> The LP opens with Codes, a classic piece of lo-fi slacker garage punk rock of the kind Sebadoh used to turn out on a regular basis. In fact the record is crammed with more infectious riffs than one man has any right to lay claim to. Check out Casserole or Circles with its addictively simple riff that sounds like its been picked out on a single string. But the formula that made Sebadoh so great, that balance between punk-ing out and fragile heart-on-its-sleeve tenderness: remains intact.
<*dv_1*> All the vocals are imbued with a plaintive melancholy, to particular heartbreaking effect on Mistake, where Loewenstein sings softly over a meditative drum beat and an intermittent, haunting, guitar riff. Longing, loss and regret were Sebadoh specialties check out their Bubble & Scrape LP: one of the most depressing break up records Ive ever heard - and Loewenstein nails that tone perfectly on Im a Shit. Admittedly the angst is very of the teenage variety, however as I am emotionally stunted it is perfect for me.
The only weak spots on the album are the heavy metal pastiche H/M and the Carlos Santana tribute/parody/homage of Crazy Santana: two songs which sound like practice room jokes. Yet, despite being the weakest songs on the LP they lighten the atmosphere just as it seems Loewenstein is about to disappear up his own introspective arse.
<*dv_2*> At Sixes and Sevens is not original and is not going to revolutionise the world: but judged on its own terms it is a great record. Fans will love it, opponents will hate it and newcomers could go either way.
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