New Lungs‘ Lanterns is an incredible release that ties together the best parts of post-rock, serious indie-rock and optimism. I know it seems like these things would not mesh conceptually, but New Lungs does a bang-up job combining them.
Look no further than “Concrete” for your example, where a tom-heavy rhythm anchors a speedy, rhythmically complex guitar/bass fusion. The surprisingly bright guitar and bass tone drop out without warning and give way to an a cappella chorale. Just out of nowhere, you know? Because that’s what we do here. Just about the time you get used to it, they blast off into a punk-inspired section that wouldn’t be out of place on a Deep Elm post-punk circa ’05 release. To signal the second verse, they throw in an 8-bit video game noise low in the mix. Not obvious, but totally there. Are you guys reading my mind or something? In short, “Concrete” is almost certainly going to be on my “top songs of the year,” even if it was released three days before 2013 started.
The rest of the five-song release, while not as mind-blowing as “Concrete,” has much to praise. “A Wallflower (The Price of Being)” uses a math-rock-inspired riff as the lead on the track, but wraps it in a warm, friendly guitar tone. It’s dizzying in its execution, and it’s not as sterilized as some technical math rock can become. (This same sort of incredible guitar work appears in the spunky “Euro.”) The bass and drums follow the guitar around, snaking through time changes and mood changes at the guitar’s whim. It all works beautifully. The vocalist is also throwing down the best vocal line outside of “Concrete” while this is all going on. Yes. This band knows what is up when it comes to songwriting.
Steven Hyden suggests in his piece on Muse that we’re headed for “a future where all music sounds like everything at once.” If mind-bending music like New Lungs’ is the result of having all genres accessible to us at all times, I’m all for it. I could use a few more shiver-inducing moments like “Concrete”‘s unexpected chorale in my music-listening life.
Speaking of “all genres at once,” Swedish spazz-rockers Cyan Marble have dropped a new EP. Maya is almost twenty minutes of frenetic, whiplash-inducing rock spread out over three tunes. Comparisons to the Mars Volta will abound, both for the sky-high vocals and the penchant for pairing absurdly technical sections of math-rock with melodic ideas yanked from every imaginable permutation of rock music. Still, with MV gone, it’s good to see someone carrying on that spazz-rock torch.
If there’s a breakout star of the EP, it’s bassist André Hayrapetian, whose intimidating chops are put front and center in “Purple Testament.” Instead of providing incredible work in the background as he did in previous EP Mirror, Hayrapetian carries the whole 7-minute tune with his rhythmic, melodic riffing. Now that Cyan Marble has established itself with two solid EPs of extremely intriguing rock, I’m interested to see where the muse takes them next. They’ve got the ambition and the chops to create some really incredible things, so we could be in for an impressive ride with Cyan Marble.