We vs. Death / Green Concorde - 9 Song-Split CD (Eglantine Records)

Publié le par Slug



Tracklisting:
-We Vs. Death : 1. Pictures from Stellenbosch 2. Workers are referred to as "hands" 3. Wake 44

-Green Concorde : 4. Ten Cities Of GREEN CONCORDE 5. 2:26 6. This Time 7. Yellow Raincoats 8. Detroit 9. Two Red Chairs

Year after year, post-rock is becoming a way for musicians to experiment with new sounds, and create new moods.  Nowadays, it is a kind of musical space where people from different artistic horizons can share and play altogether, bringing their personal abilities and mixing all their tunes to create a totally new type of music.  Like psychedelic rock in the early 70’s, post-rock is an experimental style, a meeting comprised of all kinds of instruments playing around a guitar, bass, and drums; improvising new melodies, and letting their impulsions come to life.

As a good student of these cultural lessons, Me vs. Death understood what the post-rock style could bring to their way of creating spaces and moods, and how it could help them introduce new arrangements and music.  In their own universe, the music needs to let the listener be surprised by new kinds of arrangements, and the use of instruments never-before-heard in rock.  For example, using a trumpet in ‘Pictures From Stellenbosch’ is quite unedited.  All their songs are progressing quietly through time, in need for brand new ideas and forms, and they succeed quite well at this.  Guitar, bass, and drums are here to create an atmosphere; a basis on which each new idea can find its place.  Their introductions, however, look almost like ambient and folk-rock songs: more elaborate than a simple basis.  We cannot help but think about Slint while listening to their guitar growths and drum breaks.  ‘Workers Are Referred To As Hands’ introduces a sweet violin and lets a trumpet fly over the whole tune, before becoming a real part of the structure.

In such circumstances, Me vs. Death’s music is also surprising because of its latent quietness.  The musicians play as if each time they could let their guitar scream and shout, they decided to slow down and let the storm die down.  Distorted guitar in ‘Pictures From Stellenbosch’ is never explosive, as for the second song.  This creates a kind of obstacle the band never wants to get over, but they seem to do it on purpose, and that’s a real part of their originality; never turn the volume up.  As a conclusion to this evidence, ‘Wake 44’ introduces an overdriven bass at the end of the song, but no guitar at all; before the drums finish killing an unheard noise that some people could never have expected, but which never came anyway.

As an echo to this originality, Green Concorde plays a post-punk rock style which reminds the listener of earlier 70’s and 80’s rock albums.  But their strength also lies in using different styles and making them their own.  The almost post-rock guitar and bass in ‘Ten Cities’ of Green Concorde, or Led Zeppelin’s mood in ‘2:26’ demonstrate this well.  They apparently listened to older rock bands, and their way of playing is clearly inspired by these inherited sounds; like Stone Roses or Pulp.  They always make them their own, though, and succeed in being a part of this 70’s revival which seems to have happened for a few years.

They also use the guitar almost as an experimental instrument, and then create unedited sounds in their style (the riff in ‘This Time’).  Every instrument has its own language, and all the musicians have their own way of playing and giving a voice to the songs.  On an apparently classical basis, Green Concorde brings originality and self-expression (as in the dry ballad ‘Yellow Raincoats’, sounding as slow and uncomfortable as it does darkly romantic, then becoming a kind of political rebellion with spoken words).  Every song becomes a new expression of musical inheritance, guided by a monochord and roughly shaped voice, which is the only red thread in this musical journey (Detroit).

In a way, both of these bands reinvent their own style; standing as figures from the past, they give us their own language and view of their musical heritage, and make it their own. Both of them create a personal universe, and stand for being representative of a complete re-reading of music and sound itself.  At this, they kind of succeed, and have to be seriously heard and followed...

                                                                                                      Slug 




Publié dans pastallconcerns

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