Godspeed You! Black Emperor

                Godspeed You! Black Emperor has toured extensively over the past few months. Hardly anyone expected to see them again. I mean, you give up releasing albums or touring for about eight to nine years. That’s a long time particularly in the rapidly moving music world. A few years are an extremely long time in the music scene. Eight to nine years could be considered a lifetime. People change a lot, tastes change.

                Certainly their music contributes to this feeling of epic-ness, of something bigger and better than normal. Most bands take a few minutes pure song. GYBE had no problem letting a whole song take up twenty to thirty minutes. It gets hard not to personalize how much this group meant to me. Once they went on hiatus I felt alone. Sometimes after a particularly hard time I’d put them on and feel a little less overwhelmed by my situation. Things looked up when I felt the music soar. When you listen to so many musicians working together for a genuine love of music it is inspiring. I doubt GYBE were ever conceived as a money-making enterprise. Moving around the ensemble alone must have been a ‘break-even’ situation, never mind the fact they were ‘taper friendly’ and encouraged the audience to record the concerts. Upon going to the concert with a few friends they remarked how difficult it must be to tour in such a massive group, logistically speaking. 

                We hear great news from the otherwise shadowy collective, from Bruce Cawdon specifically (I know, it is weird they have names). All the shows they have been doing were for a greater purpose. Members from the collective will be working on a new album after the end of the tours. That rewards the faith (or hope as GYBE would put it) of those who continued to listen to the band during the prolonged hiatus. Finally they have decided to rise again from the ashes and release music once more for their devoted. 

                I can’t express how happy I am at this news. Whether or not what GYBE does is considered popular is totally irrelevant to me. GYBE doesn’t mind that Post-Rock or whatever people pigeon-holed it is no longer popular. For them popularity was never an issue nor will it be. Probably the opposite is true: when they began their hiatus in 2002, they noticed the proliferation of countless copycats. They moved on to other greener pastures as the genre tired itself out and exhausted, died an inglorious death. 

                There is nothing in the concerts to suggest what direction their music will be headed. For most of the concerts, they have stuck with their album material. If they do decide to something new, it will be completely unexpected. Perhaps they may be louder or quieter. We don’t know. All I know is I’m glad to see them return after such a long time away. Slow music is making a comeback.

When will the “Gloss Drop” by Battles?

                Battles helped me through 2007, one of the first years I had at work. Each time I re-visit “Mirrored” I think about the first time I truly felt independent. What I liked about Battles was how many different, somehow difficult snobbish genres into a likable whole. Usually I found myself forcing experimental music onto people. Now that Battles existed, I had a good ‘starting point’ to help people begin explorations of weirder genres like Post-Rock, Math Rock, or Experimental Rock. Certainly it helped when I tried to get people into Don Caballero. 

                People liked their sense of humor. For a purely instrumental band to have such a well-developed humor is rare. Trans Am had this as well, though Battles avoided that level of irony. Songs like “Atlas” and “Tonto” were full of life. They managed to both rock and experimentation with certain silliness. Actually, this used to be a lot more commonplace. Frank Zappa and Captain Beefheart would be the two best examples of humor walking hand-in-hand with musical experimentation. I don’t know what happened to that sense of giddy discovery, but there seems to have been a halt to such things happening for the most part, at least on American soil in US-based bands. 

                Battles were here to defeat the po-faced experimental snobs. I thought how wonderful it was Battles broke down this wall between the two concepts. Countless times they visited New York City, usually for free. Each and every time I missed them, due to conflicts with time and space. As I heard they were releasing a second album, I grew excited at the prospect of it. Figuring they would be back, I felt happy. Gloss would drop. 

                Well, Battles are going to every place on Earth except New York. Shoot, they are even headed to Iowa City before they get to New York. I don’t want to say I’m insulted but I sort of am. Also, Tyondai Braxton, the wonderful guy who did the awesome electronic tricks (such as the vocal distortions on “Atlas”) has left the group as well. For a little while I wondered what kind of sound Battles might have without him, as I enjoyed his contributions. Tyondai brought levity to a group of people more familiar with Post-Rock than anything approaching fun.

                Some things never change. Warp Records still does an extremely poor job of preventing leaks. I don’t know why they are so terrible at it. Perhaps the fan boy network which grew up listening to Autechre has taught their offspring how to pirate music.  Whatever the reason may be, you can’t ignore that “Gloss Drop” leaked so badly morons who still use KaZaa could find it. The leak coming out so early boded well. Bands who leak early are generally beloved enough and the album worth it enough, particularly if the leak is of high sound quality. 

                How’s the album? It is still fun. After giving it a listen-through it will make “Best New Music”. I mean, there are members of the Boredoms at work on here. Will it get above its last score on Pitchfork? Considering they last got a 9.1 I doubt it. I think it is a good album but not as good or revolutionary. They basically hone their craft on here and continue to have fun. Pitchfork will probably give this album somewhere in the low to middle 8s for it. Most realistically it’ll get an 8.4 which appears to be their default best new music score. Everyone will remain happy if slightly disappointed at Battles’ inability to innovate beyond their original sound.

                An album roughly as good as a debut is nothing to worry over. Considering the quality contained within, it is still something I imagine will get trapped in my brain. I’d recommend it. Every second there’s about 80 different things happening. The prog rock tendencies haven’t been tempered. Just think of it as a polished version of their first album and you’ll be fine.

Henryspenncer – To the Timeless Valley 7.6

                  “Bookmaker records” is a brand new label offering up French psychedelica. Lately France has been getting some pretty excellent bands emerging, seemingly out of nowhere, with these takes on expansive music. Henryspenncer continues in that proud tradition.

                Valentin Feron’s music is massive. In his own words, he states that it is influenced by Northern Scotland. As someone who has wandered around those parts, I’d say there’s a certain truth to it. The sounds are somewhat inviting despite the sometimes ominous nature. Perhaps that’s due to all the instruments he incorporates, or the slow movement of the pieces themselves.

                There aren’t any loud surprises. Pacing-wise, it has a certain post-rock build. When the loudness or a crescendo does happen, it feels deserved. “An Elevator to Nowhere, with a Pyramid” has a far-off sound. Even as it gets more percussion, it reminds more of a threat than an outright onslaught. 

                If this has any similar bands, I’d probably say latter-day Earth. A western twang is noticeable on most of the pieces, particularly the shorter sketches “Roma” and “Hibernation”. On the closer “The Timeless Valley” Henryspenncer even employs an acoustic guitar and organ.

                Henryspenncer creates a likable album. It exists between drone and outright psychedelic. By incorporating so many different ideas and using a certain degree of discipline, he creates an album that feels well-worked over. Each piece sounds thought through and there are no needless displays of solos. It is just giant sound. Get lost in it and get it here.

Explosions in the Sky at Radio City Music Hall

               I’ve gone to concerts at Radio City Music Hall before. Usually they feel a bit stuffy due to me sitting down and politely casting judgment from the nosebleed seats. Tonight that didn’t happen. Instead, I found myself enjoying some of the benefits of having a giant room and seats.

                Eluvium came up first. He introduced himself with a brief “Good Evening” and proceeded to play for a short period of time. While I’d like to comment more on his performance, I happened to constantly hear the crackling of plastic candy around me which distracted me. So from what I could focus on he appeared to be a more indie version of George Winston. The playing was moody which fit the rather awful weather had tonight.

                Low came up next. They were sweeter than I expected them to be. When I hear their music, I think of the best kind of loving-making music. Keep in mind as I say this I’m a giant music nerd. Some of my friends have informed me this distinction is held by Belle & Sebastian. I’d like to change that to these wonderful people from Duluth, Minnesota who virtually embodies Minnesota nice.

                For this concert they had a quartet. All the songs were from their new album “C’mon”. In a live setting, I felt the album really does show a mixture between their “Things We Lost in the Fire” and “I could live in Hope” periods. Most of the songs were extremely quiet and slow. I’m not sure how many in the audience were as excited as I was for them, but I did hear a few ‘I love these guys’ so I’m glad I wasn’t alone.

                Actually, Low being there was the reason I decided to go in the first place. I’d never seen them before. Getting tickets to a concert just to see one of the opening acts probably cements my reputation as a Hipster, in case seeing Animal Collective twice didn’t already do that for me. But Low deserve it. They continually put out a good product.

                “Try to Sleep” started things up, followed by my personal favorite “You See Everything”, then “Nightingale” a few others, finishing off with a loud “Nothing But Heart”. If I had a problem with their set, it was probably a slight displeasure with the bassist. Occasionally I felt the bassist was on a different page than the rest of the band. Usually this wouldn’t be noticeable, but in a band as quiet and dependent on the low end as Low, it irked me ever so slightly. When they ended people clapped but I wished they clapped harder. Low does something so unusual in the music world by following their own muse rather than making naked grabs at the latest trends. Few bands have the guts to do that, so I respect them for the decision.

                Explosions in the Sky are a band I enjoy quite a band. When Post-Rock sort of fell by the wayside, these guys were just starting out. I felt bad for them as they were fairly excellent. They were resigning themselves to a genre with diminishing returns. Bands that get into these fading away genres can get ignored despite their obvious quality.

                Since they were the headlining act, they avoided such a fate. Before they began, they started out with heartfelt thanks towards the preceding two acts, particularly Low. As Explosions in the Sky excels at some of the quieter, more tender aspects of its sound, it didn’t shock me they considered Low a class act. I’m glad they brought Low in for the ride.

                What made them so interesting is their penchant for avoiding some of the Post-Rock template. Build-ups were there for sure, but they also randomly explode. This isn’t so much intellectual music as it is emotional. I didn’t realize a few people could make so much or so little sound. A few moments they literally stopped on a dime. Or the opposite would happen as their guitars propelled us to the sky.

                Perhaps their name is apt. They do well both in an almost shoegaze setting, with mellow guitar interplay. Sometimes they explode into glorious color, all the while never missing sight of the other players. Everyone on stage worked together to make the songs work; there weren’t any solos, a real rarity for a genre that embraces them.

                I hope someday soon when the 90s begin getting mined for material Post-Rock becomes one of those old genres newly embraced. As new bands discover the joy of Post-Rock, they’ll notice Explosions in the Sky kept the seat warm for them.

Rachel’s – Handwriting 9.4

                If I have a weakness, it is for anything Post-Rock or Louisville-Kentucky related. By merging two of my obsessions together, I’m pretty much satisfied. Rachel’s not only does those two, but incorporates a pure somber classical influence as well. Thus, I think I found a band almost tailor-made to my experiences as a child and teenager thrown into one big group.

                The songs on here have verve, soul and run the gamut from severe to humorous, often within the same song “M. Daguerre” being a prime example. It starts off in a drunken jazz haze, with oboe and vibraphone. A jaunty piano joins them, as does a light-hearted drum. 

                Formed in the early 90s, very few if any bands decided “Hey, let’s play rock with classical instruments”. You’ll see the guitar, a drum, on the long-length song “Full On Night” but otherwise it is pretty much pure classical. Samples of trains passing by overwhelm the end.

                Actually, this works well as winter depression music. Everything on here is moody and pretty dark. Really, the trio did a pretty good job of keeping out the light. The connection with former short-lived band Rodan (not fun people, great band) confirms this. 

                No one should listen to this during a warm, sun-filled summer day. This is music to listen to while things “seem bleak” and you’re not sure of yourself. Listen to at night, in the dark, while your heat is broken. That’s what kind of music it is.

Polmo Polpo – The Science of Breath 7.3

                Applying a post-rock approach to dance music is a difficult one. Dance by definition requires a form of almost instant gratification. Few dance musicians would bother taking the time to take the painfully slow buildup required to make it post-rock, but Sandro Perri is one of those people.

                The long tracks are all from various singles he released. Interludes were placed in between each giant slab as a way for the listener to catch their breath, from high to low breathing. But these fit in quite well with all the bigger pieces, like filling in the cracks.

                “Oarca” has a submerged beat. It is so slow and meanders on the absolute bottom. “Acqua” presents itself as a more traditional, longer burning jam. Even the start suggests that the song began before we were listening. Finally, the epic closer “Riva” starts with the closest Sandro gets to distortion and a full rave-up. It is really quite a wonderful ending, appropriate considering the emphasis post-rock places on the end.

                Yeah, the sea-references are deliberate. Apparently this was to have a nautical theme of some sort, and without having cheesy whale calls, it succeeds in that goal.

Slint – Spiderland 10.0

People fawn over this album. I did. When I first put it on, it blew me away. Everything about it felt perfect, right down to the clean guitar that opens up “Breadcrumb Trail”. When I finished the album, I put it on a few more times. Later that evening when I went to sleep I had paranoid, creepy nightmares recognizing the intense discomfort and paranoia that exists on a regular basis in America. 

Such is the power of Spiderland. It is the kind of thing I wish I heard more: beautiful guitar, beautiful drums, beautiful everything really. The lyrics are vulnerable yet they avoid a lot of the cliches of exposing yourself by singing. By speaking it sounds like narration, and the music is the backdrop. Hearing about the rollercoaster ride meshes so well with the perfect instrumentation. 

“Nosferatu Man is one of the more straightforward songs on here. There are absolutely excellent vamps on here, particularly at the midsection. Sometimes when I listen to that harsh, messed-up “My teeth touched her skin” I sort of wish it could last forever.

What comes up next is far more difficult. “Don Aman” is the song that gives credence to the rumor that at some point some of the members may or may not have been institutionalized during its recording. Honestly, I kind of doubt they were, but it is an extremely unsettling. Stripped of percussion, or even guitar distortion, it is simply a series of guitar chords spaced out to give tension rather than melody.

The quiet continues into “Washer”. Singing actually occurs on this song, rather than the uncomfortable speaking that went on beforehand. Percussion is re-introduced, and the song keeps its cool besides one explosion at the very end. “For Dinner” ups the ante by providing a tense moment with no relief by speaking, singing, or even a single explosion.

Finally, the end is in sight. Hearing those jangling notes, you know something is not well. The nervous drums and bass confirm this. In case you still didn’t get it, Brian lays the Ancient Mariner theme on. Samuel Taylor Coleridge probably would be thrilled to see his poem taken to such nightmarish extremes. Everything builds up to that extremely satisfying scream “I MISS YOU!” as sound explodes louder than it had during the entire album’s duration.

Released in 1991 to little to no acclaim whatsoever (excluding Steve Albini’s “ten fucking stars”), it built up its popularity. Not due to any sort of pranks or hijinks by the band. Indeed, the band has been ultra-quiet about those recording sessions it had with Brian Paulson. 

Instead, they did this unusual thing where the music spoke for itself. Occasionally others found it and sung its praises, but the band wasn’t interested in pointless promotion. This is probably one of the most American rock albums I’ve ever loved. Each second oozes a certain kind of America, the America I live in, not romanticized, just shown as realistically and starkly as possible. Pure love.

Slint – Tweez 8.7

“Shit. They’re fucked” the singer/speaker announces to all of us in “Ron”. The aggression is ramped up pretty high for Tweez. At times it sounds like these guys were just pumping out leftover aggression from their Squirrel Bait days. But that aggression appears to be reaching for something else, something a bit more detached.

“Carol” is one of my more beloved songs on here. It hints at the later, multi-part masterpieces they would later perfect. At the 2 minute mark the music gets wonderfully intense. The guitar screeches out a painful wail as the speaker tells you “when the time comes/you got to let go”. 

They were surprisingly young to put out something this experimental. None of them had even graduated from college yet when they got around to making a song that involves hearing a guy swallow a glass of water. A jam starts up, sounding almost like a kind of normal band having a grand old time. Being Slint, this could only last a little over a minute before they wanted to “get sensitive” and talk about Christmas Trees inside their heads.

Lyrically, it doesn’t feel as solid as say Spiderland’s clear narratives. But the weirdness can sometimes lead to a tender sweetness, like it does on “Darlene” probably one of my favorite songs about relationships of all time. That bass comes in and sounds wonderful. Beautiful guitar comes in and the speaker is delightfully nonchalant. Also, they seem to save the darkness for us until the very end of the song, as he feels sad that he lost two friends to each other. 

Reaching the end of the album, it gets into darker, even more distorted terrain with “Warren” and “Rhoda”.

I can’t believe how under-noticed this went at the time it came out. Recorded with Steve Albini, who even admits “It sounded alright”. Nobody paid attention to it, so few that it got recorded in 87 and released in 89 by Jennifer Hartman Records, which sounds like somebody working out of their garage. Later on it would be released on Touch and Go, which is where they would find a home for their masterpiece, Spiderland. 

PS. If you’re wondering where the album’s title comes from, it was from Britt Walford’s (drummer) habit of collecting tweezers.

Slint

King's ApproachKing's Approach

Slint helped to start so much of what I listen to that I really do owe them a debt of gratitude. Without them, I would have been left stranded without any of the great post-rock bands that came about either directly from them or based off of their ideals. June of 44, Rachel’s, Rodan, and the list continues of various bands created out of that initial “Big Bang” of their implosion. Perhaps they were wound a bit too tight, or maybe they just were sick of spending so much time on something people didn’t immediately appreciate.

                Those Post Rock bands that formed after these guys (like ‘Stars of the Lid’, ‘Don Caballero’, etc) were heavy informed by the dynamics set forth by Slint. Stars of the Lid focused on the quiet atmospherics. Don obviously got a lot from Slint’s extremely muscular sound, but maybe went a bit further with the drumming.

                Oddly, this obsession with them began years after they had broken up. All these developments occurred after the fact, once the music had begun to sink in with the rest of the world. Even those who weren’t exactly influenced by their music (Tortoise claimed that they knew of bands they liked more) still had to admit that there really was something quite unusual about Louisville, KY’s music scene. Perhaps it was how removed and distant it was relative to any other large major city. Due to this distance it could better form its own identity.

                After years of working in other bands, in 2007 Slint reformed. They haven’t released any new music as their band has risen from the ashes, but with the live concerts there’s a hush of anticipation. A certain expectation has been created due to that prolonged period of silence. Plus a new song has been introduced as sort of a perfect closer.

                It is called “King’s Approach” it sounds like something that might have come from Rodan. It takes its time in building up, and expands beyond any other song they have in their overture. Depending on their moods, it can last anywhere from 6 to 10 minutes. Hearing it, it does reassure me that they didn’t reform the band simply to make a huge amount of money. Most likely, they are making enough. Besides, their various other projects either as solo (David Pajo) or work in other bands would pay much better.

                Over the course of this week, I’ll go into their entire meager discography. Barely 80 minutes of pure music is all they’ve been able to offer the world. Yet it is due to the sheer quality that they have been able to sort of span entire generations of music snobs, from the vinyl to tape to digital (all of whom have their own personal bootlegs of those few 80s concerts they performed). We’ll go from the beginning ‘Tweez’ which they’ve stated repeatedly is stuff they’d like to revisit to their most famous opus ‘Spiderland’.

                Reading what few interviews exist with them, it seems telling how they would want to re-tool some of those old songs. How perhaps those songs atmospherics and general pace might not fit people twenty years later who have since started families and had real lives. But yet they known how venerated they are in certain circles and to tweak those songs even slightly would freak out too many.

                Above is a surprisingly well-captured video of them performing their newest offering “King’s Approach”

Hammock –Chasing After Shadows…Living with the Ghosts 7.2

I can’t really think of a more aptly named band. Their music gives off the warm vibes of lying in that free-moving piece of furniture, staring blankly up into space. Clouds move by at a snail’s pace. And the flow from song to song is great. 

They bring up images of a mix between Stars of the Lid and Explosions in the Sky, but with their own personality. Most of their work directly references the quieter parts of Explosions in the Sky without the crescendos, deftly avoiding that part of post-rock. Instead the songs tend to drift away. Occasionally they even hark back to Stars of the Lid type classical arrangements, though those moments are relatively few. 

Basically, this album is better taken in a few doses. For some people a 70 plus minute album of mostly soothing sounds might be a bit much. This is an album which rewards patience. And I’m sorry I missed them when they opened for Stars of the Lid at Le Poisson Rouge. From what I heard, that was a great concert.