Lights & Motion‘s Dear Avalanche delivers more of the high-drama, major-key post-rock that composer Christoffer Franzen has come to be known for. Fans of this style of post-rock already know what to expect from a Lights & Motion album, and Franzen does not disappoint: there are a lot of delicate melodies that grow into giant codas, big explosions of sound, and pounding percussion.
There are a few new touches (or old touches with new emphasis): Vocals appear in standout “Silver Lining,” which will appeal to fans of Sigur Ros; “Perfect Symmetry” includes some intriguing patterned piano playing; “DNA” is a stomping, aggressive minor-key piece. Beyond these small changes, Franzen sticks to what works: closer “We Only Have Forever” opens with a celebratory guitar melody underpinned by punchy drums and big pad synths, then grows to a giant, revelatory conclusion. Fans of enthusiastic, cinematic post-rock will find much to love in Dear Avalanche.
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Jake McKelvie‘s The Rhinestone Busboy EPis an alt-country record mostly because of the tone in which he sings and the lyrics he pairs with his traditional, spartan country arrangements. If McKelvie had a baritone drawl, this would be pretty close to vintage country. Instead, McKelvie’s voice is a wobbly tenor, and his lyrics include lines like “‘Cause I flat-out can’t kiss you with food in my mouth” and “I’m a brutal believer, you’re a tongue-tied late teether.” There’s a tension between these two elements, with neither the “alt” or the “country” winning out.
Instead of sounding goofy or unrealistic, McKelvie’s slightly warped delivery and alternately quirky/incisive lyrics are lent gravitas by the precise guitar strum and subtle arrangements. The results are a set of tunes that sound like a usually-cheery person trying to cope with a broken heart, trying to be mature about things but really just not wanting to. Like this set of lines from standout “Fantasy Team”: “And it’s time for me to leave / To practice my cursive and eat lots of ice cream / And buy a new weight set to leave / In the box that it comes in and draft my new fantasy team.” Pretty real, man. If you’re not into stark alt-country, these six tunes may all sound similar; but if you’re a card-carrying sad-song-person, this one will be a great friend in your next sad-song-binge.
Side projects can be confusing whims, cross-genre experimentations, or weird one-off collaborations. They can also be unhurried, easygoing works that reveal new facets of musicians.
Tim Carr‘s The Last Day of Fightinghas that unhurried ease in spades. His indie-pop/folk album has overtones of French pop in the meandering vocal melodies, airy guitars, and lazy rhythms; these together create a short album that’s relaxing to listen to. “Easy for Me” is not just a fitting title to add on such a flowing album, it’s a standout tune that sees Carr’s room-echo vocal performance mesh beautifully with a rolling, tumbling acoustic guitar performance. Carr’s sleepy-around-the-edges tenor recalls Paul Simon’s at times in this Simon and Garfunkel-esque tune. “Beyond You” and “The Last Day of Fighting” also show off his folky bonafides, while “Kindred One” has some rhythmic alterations that give the tune a different, slightly African feel.
No matter what track you’re listening to on The Last Day of Fighting, you’re sure to hear some relaxing, enjoyable acoustic music. Lots to love here.
Sunmonks’ “In a Desert of Plenty” is the rare track that succeeds in interpreting the rhythm and mood of the song with the clip. Most entrancing is the sections where the director tracks the polyrhythmic backbeat with the erratic motion of feet. (You just have to watch it.)
I love a good animated clip, especially when it tells an interesting (if slightly inscrutable) story.
Lights and Motion is back with a new album and a new video! The video for “The Spectacular Quiet” follows previous videos in having absolutely brilliant cinematography scoring a narrative that takes some thinking about. (Also: quite spectacular; not very quiet.)
If you’re the sort of person that appreciates slowly-unfolding musical mood pieces, then you might also appreciate a three-part, 15-minute, slowly-unfolding video mood piece set to three Jesse Marchant songs. Not a lot happens in the 15 minutes in terms of action, but it’s really pretty cinematography.
I review a lot of music. Like any person who does a particular action thousands of times, I’ve come up with better and more refined ways of accomplishing this task. For me it means listening while doing certain types of other actions, keeping track of any stray thought whatsoever I have while listening, and so on. But sometimes an album comes along that blows up my method. Post-war by Last Builders of Empire forces me to encounter it on the creator’s terms instead of my own, which results in a really satisfying listener experience and (as you’re about to see) a relatively difficult writer experience.
My natural reaction to post-rock is to describe the quality of the sounds and point out the defining characteristic of those sounds. Post-War resists that. The post-rock here is largely dark, heavy, and emotional; it aims for the widescreen angles. The band’s scenes are framed by delicate guitar work; they often build from sweet, subtle beginnings to heavy, dissonant, distorted conclusions. That all sounds like standard post-rock fare, right? That’s because the individual aspects of the sound aren’t really the point of the album (as opposed to, say, an Adebisi Shank album, where they are 100% the reason to listen). The care and attention that Last Builders of Empire invest in the details of the songwriting and wordless storytelling are what make this an engaging, enveloping listen.
The band wrote this work with a specific arc in mind; this isn’t a haphazard collection of songs without context. Set up in a tripartite “Inferno,” “Purgatorio,” “Paradiso” format, this album seeks to be a whole unit. (This is why it is so difficult to talk about its individual songs or even the individual sounds.) Yes, this is a fully-realized achievement, an album that has the plodding dissonance of “Huida Hacia El Sol” as an equally important part of the album as the urgent, yearning “Quiet Like a Knife.”
Closer “For Those Who Have Faith” brings both of those leanings together, pairing a yearning guitar line that finally edges its way over into a major key with a thumping, low-slung rhythm section. The middle section represents a style closer to the soaring, upbeat Lights and Motion style of post-rock than the heavy, brutal Godspeed You! Black Emperor style. It’s still very clearly Last Builders of Empire, but they’re able to transform their songwriting accordingly to fit their overall arc. By the end they’ve come back around to their home base of dark, heavy, dissonant, and emotional–which presents an interesting conclusion to the album. Perhaps “Paradiso” isn’t all it’s cracked up to be–returning home from war is never easy.
Post-war by Last Builders of Empire is not the sort of album you can digest in one song or even one sitting of the whole record. It’s an experience that you have simmer in and immerse yourself in. Last Builders of Empire have taken the time to craft their art in deep and thought-provoking ways, which I always appreciate. If you’re into post-rock, Last Builders of Empire should be on your to-hear list.
I’m a big fan of two mid-era Jimmy Eat World records, Futures and Chase This Light, that perfectly captured the blend of riffs, rhythmic variety, clever vocal melodies, and mood diversity that I’m looking for in rock. The Slang have a ton of sonic similarities with Jimmy Eat World, which makes me a huge fan of their self-titled EP. Opener “Far from Over” has a vaguely disco opening before dropping into a guitar-laden groove that manages to keep energy going through a midtempo tune (an admirable feat).
Lead single “Feels Like Work” nails the quiet/loud dichotomy in creating a solid radio-rock tune. It feels mature, powerful, and not kitschy–especially when the lead guitar lines come in. The vocals take the lead in “One Step at a Time,” which makes it feel even more like a Jimmy Eat World song. Throughout the EP, there are strong riffs and a great sense of control that keeps this from turning into pedestrian rock. The Slang has an x factor that’s hard to quantify in rock, but it’s very clearly there. If you like thoughtful rock’n’roll that doesn’t turn into sterilized thought experiments, The Slang will scratch your itch. It’s melodic comfort food for me. I look forward to hearing much more from The Slang.
Gold Light, who we raved about over here, get their ’50s visuals on to match their ’50s sounds in this lovely clip. Side note: It will be weird when we get to the 2060s and have to start mentioning which ’50s we mean.
Lights and Motion, not content to make pristinely beautiful post-rock, is now making pristinely beautiful and conceptually interesting music videos with gorgeous cinematography.
The clip for A Mad Affair’s Americana-meets-Ingrid Michaelson tune “Out of My Hands” features a ballerina (instant win, as I’ve noted before) and very intricate body paint. It’s a great video.
NC indie-rockers Once and Future Kings’ “Hologram” layers a literal hologram (can there ever be a literal hologram? #deep) over scenes of action for a neat juxtaposition.
The Head and the Heart don’t need help from this little blogger: last time I saw them, I was thrilled to see that they sold out a 2,000-person venue in Raleigh, NC. Still, this video is beautiful and well worth your time. It’s got a ’50s vibe too.
Debuts are funny things. The cult of genius that critics are sometimes guilty of proliferating puts a lot of stock in the opening salvo of a career; whole careers (even masterful ones) can be defined by the first release. So it’s with trepidation that I heap praise on any debut: there’s a lot at stake for the artist. Still, it feels disingenuous to not convey how impressed I am at Lights and Motion‘s Reanimation.
The origin story of is that of a 24-year-old, self-taught musician working long hours alone to craft an album of sweeping, cinematic post-rock. The album leans toward the “start small, end huge” trope of post-rock, but there are some songs that just hang out in the “start small, stay small” zone (“Requiem”). Guitar, piano and atmospheric synths carry the day, as they often work together to create the big crescendos. Strings also play a large role in the construction of the tunes. It is, above all else, beautiful music: there are no Tortoise-style jaunts into gritty landscapes or Isis-style dissonant roars. If you’re looking for some gorgeous post-rock, Reanimation is in your corner. As Lights and Motion continues his career, I look forward to seeing him expand his sonic palette into some more adventurous waters. But as a debut, it’s an assured and deeply enjoyable listen.
The debut of Bluskreen happened in 1996, but it’s just being unearthed now. After finding a brown paper bag full of tapes, Tony Ianutti was able to salvage four albums’ worth of glitchy, minimalist post-rock/soundscapes created on fully analog equipment. The unnamed songs on the four volumes of XLIIS90 – The Cassette Archives range from immersive to downright oddball, but they present a very recognizable prefiguring of Bluskreen’s later, more melodic work.
I’m particularly fond of the openers of each volume, as they cover a lot of the ground that the rest of albums tread. The opener of Volume 1pairs a highly rhythmic backdrop with a slow-moving, mysterious keyboard line to create an intriguing tension that’s reminiscent of a good video game soundtrack.Volume 2kicks off with a modified spoken-word clip and a murky melodic motif that set a noir-ish, trip-hop feel. It’s one of the most memorable tracks in the collection.
The high-pitched, Postal Service-esque beat that opens Volume 3 sets a very different tone than the first two. Though maintaining the heavily rhythmic beats, the tune is much more optimistic than the previous contributions. The profoundly eerie synth sweeps that open Volume 4 give way to some strange sonic and melodic experimenting, which shows yet another side of Bluskreen.
Bluskreen’s XLIIS90 volumes are a treasure trove of downtempo, minimalist post-rock/soundscapes. I’ve loved all of Bluskreen’s work thus far, and so it’s fascinating to hear the very beginnings of the project. Highly recommended.