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From the Inbox: Condo - 306 Duress Avenue EP

"I'm will try to avoid hyperbole here, but it's going to be difficult. You see, I'm enjoying Condo's 306 Duress Avenue EP enough to start thinking of words like brilliant, audacious, and maybe even shocking. It's really that good."

- onelouder new york city

"PolluxNiner Blog"

...It's a mixed tonic of semi-ethereal post-punk pop and jangly, angular sounds with matter-of-fact vocal stylings. This particular song begins with dreamy harmonics, then the guitar wails sort of forlornly only to deliver the song full circle to its harmonic origins. All the while, it never loses its sense of identity...

... expansively textured and fresh sound which is, all in all, a nice change of pace from all the indie rock malaise...
- Sunny Lee

"Sattelite Magazine-July 2005"

306 Duress Ave
(self released)

If you lived in Gainesville in the early 1990s you got the chance to see a lot of great music. Most bands that played then are defunct and members have left town to pursue careers and families. That is exactly what happened to the members of SUPERBALL, a Gainesville band from that decade. Their music was steeped in Seattle fuzz that appealed to many grunge aficionados, but also won over critics and indie rock shoegazers. Together. Ryan McNeil and Dan Falt, guitarist and bass player, have been living in New York City and formed CONDO. Gone are the Pacific Northwest subtleties, replaced with echoes of the Bowery and the UK post-punk movement. On their debut EP they channel Mark E. Smith, Robert Quine, and the rhythmic interplay of Fugazi. Singer James Roe, a UK import, tells tales of his existence in a city filled with temptation, booze and money. Lush keyboards and dreamy vocal harmonies by Mary Ann Falt fill the gaps. Paredes’ drums provide a hypnotic repetetive trance reminiscent of early New Order. CONDO definitely succeeds at blending its variety of influences and forging a new sound that fits in well with their New York contemporaries. You can hear the songs at .

—Brian Watson


"Between Thought and Expression"

...Condo is to Television what Interpol is to Joy Division. Check out their cool post-punk tunes...

"The Catbird Seat"

...For whatever reason, I thought I probably wouldn't like these tracks from this band Condo, but once again, I was wrong. They've got some charm, they do, and I can't deny it. This site said of them: "on their debut EP they channel Mark E. Smith, Robert Quine, and the rhythmic interplay of Fugazi." Again, seems a pretty damn good description.... -

"CONDO Best of Luck"

Is Condo the only alternative-rock act with both a brother-sister and a husband-wife combo? Just curious.

Best of Luck takes its cues from the pop-rock indie scene and does a decent job at melding the good parts of its forebears. That is to say, Condo embraces the immediate appeal of the Interpols and Walkmens of the world, doing so without the overly self-conscious trappings of likeminded followers. The production quality exceeds that of most players in the field as well, which may be the result of going through the recording process a couple of times prior.

Condo mixes a decent amount of rock - borderline shoegaze at times - with its FM-ready hooks. "Judge of That" has some heavily distorted guitar and Levitation-like drive to it, as do parts of "Left at the Lights." On a few of the songs, it's the rapid snare work that keeps things moving smartly ("Suburban Symphony," "Best of Luck"), but the drive of the rhythm section does sometimes play against the relaxed single-note guitar figures. The lead guitar hits on the House of Love and Adorable penchants for simplicity and memorability.

As you'd expect from a band whose bullseye is the alternative "hit," the singing is well done and catchy. There are times where you've sworn you've heard the melody in someone else's song, but I suppose that's an acceptable occupational hazard.

Fans of shoegaze should check out "I'm Leaving" or "Suburban Symphony." Fans of modern radio should give "So Unbecoming" or "Judge of That" a spin. I'm sure the band would do pretty well with the Death Cab set if Best of Luck ever makes it to their iPods.

- Delusions of Adaquecy

"William Ruhlmann-Review"

On Condo's third album, its "post-punk pop" (as a promotional sticker puts it) is expressed in echoes of some of the New York new wave bands of the 1970s, as the stinging guitar of Ryan McNeil, crossed with the shimmering keyboards of Mary Ann Paredes, recalls the twin-guitar attack of Television, and James Roe's adenoidal vocals sometimes resemble those of Richard Hell. But Condo is never as atonal or out of control as those antecedents, which is why they can be called both post-punk and pop. The band's dense arrangements are carefully structured to maintain a propulsive urgency and to support Roe's lyrical sentiments, which trace the challenges of interpersonal relationships but come down on the side of commitment. ("I'll take humiliation over regret," he concludes in the final song, "Suburban Symphony.") Condo is a talented outfit that seems to be just coming into its own, which makes Best of Luck a stimulating listen. ~ William Ruhlmann, All Music Guide - All Music Guide

"Spledid Magazine Review"

They might remind you of Bloc Party; at their best, Condo's new- or no-wave blasts can shake hips with the cream of the dance punk revivalist crop. -

"The Deli Magazine"

Condo’s latest album, Back in Your Own City, mixes punk rock ethics with an ethos of pure 1980s modern rock. Part Clash, part Pulp, Condo may wear their influences on their sleeve, but they own the sound they forge. Stellar opening track “Ursy Knows” is a melting pot of 80s new wave bands. Extra points earned for a pulling off a believable Siouxsie and the Banshees vibe. The disparate pieces and fractured movements of “An Amateur” make for a song that is far deeper than it appears on first listen. “The Horror” ambles along through its lazy organ melody toward a gratifying sing-along chorus and a spirited sprint to the finish. Title track “Back in Your Own City” brings things closer to the 21st century, blending the grit of post-punk with a heart that tinges on, dare I say it, emo? The sound is always rich and textured, and while at times delicate, the album charges ahead like a bulldozer. - Tom O'Connell-Deli Magazine

- The Deli Magazine

"Review of Best of Luck"

Smart hard pop/rock driven by technology. The third album from Condo is a thick and multi-textured affair as the band allows their indulgences to be heard. But that is by no means a cut, as the thick excesses on Best of Luck are what make it such a pleasant and interesting spin. Many of the songs on this album remind us of some of the more stylized, produced British bands from the late 1980s and 1990s. The band's big sound is anchored in heavy, precise rhythms and guitar drenched in reverb. The vocals are up front in the much so that the listener can even understand the lyrics. Condo is Ryan McNeil (guitar), Mary Ann Paredes (keyboards), Dan Falt (bass), Patrick Paredes (drums), and James Roe (vocals). (Note that the British accent is not fake, Roe relocated from the United Kingdom.) This is one of those cases where the songs sound better the more familiar they become. Top picks: "Instead of Lonely," "Best of Luck," "Left at the Lights," "Suburban Symphony." (Rating: 4++++)
- babysue


CONDO: 306 Duress Ave (2005)
CONDO: Back In Your Own City (2006)

CONDO: Best of Luck (2008:Rockpark Records)



Expansive, textured, modern and fresh,
Condo combines Ryan McNeil's ethereal
guitar work with Mary Ann Paredes's melodic
keyboards and the powerful rhythm unit
comprised of Dan Falt (bass) and Patrick
Paredes (drums). James Roe, a U.K. import,
provides a context for the music with his
keenly observed tales of the darker temptations
of big-city life. Condo, which harbors at
least two recent indie-rock cliches -- a
brother and a sister and a husband and wife
-- channels the cool glare of Bauhaus and
the Fall with the playfulness of Siouxsie and
the Banshees.

Best of Luck, the band's third album, was
released Oct. 14, 2008, on Rock Park Records.
The CD was produced by Elliot Blakey
in Atlanta and was recorded at The Seaside
Lounge Studios in Brooklyn, N.Y.

This album is getting excellent college airplay, and was featured on BBC Music 6 by legendary DJ Steve Lamacq! Airplay and top 25s at WHRW, WUNH, KCWV,KFSR, and more on the way!