
The Debt Ceiling Looms
By THE NEW YORK SUN
|This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.

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The best song on Rilo Kiley’s fourth studio album, “Under the Blacklight,” is a simmering plateful of Southern soul called “15.” It’s a delightfully crass little yarn with a stately horn arrangement, about a lonesome teenager and the “spider on the Web” who coaxes her from her keyboard. It’s not exactly what you’d call “classic” Rilo Kiley, since the foursome from the moneyed slums of Los Angeles only started doing its best “Dusty in Memphis” impression on 2005’s slickly produced “More Adventurous.”But the song sounds instantly inviting, a logical progression after three albums of increasingly sophisticated pop music, and a window into the group’s keen talent for reinvention.

By THE NEW YORK SUN
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By ALEX ZDAN
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By LUKE FUNK
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By ALEX ZDAN
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By BENNY AVNI
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By ROSS ANDERSON
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By ELYSA GARDNER
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By MATTHEW RICE
|The best song on Rilo Kiley’s fourth studio album, “Under the Blacklight,” is a simmering plateful of Southern soul called “15.” It’s a delightfully crass little yarn with a stately horn arrangement, about a lonesome teenager and the “spider on the Web” who coaxes her from her keyboard. It’s not exactly what you’d call “classic” Rilo Kiley, since the foursome from the moneyed slums of Los Angeles only started doing its best “Dusty in Memphis” impression on 2005’s slickly produced “More Adventurous.”But the song sounds instantly inviting, a logical progression after three albums of increasingly sophisticated pop music, and a window into the group’s keen talent for reinvention.
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