I’m incredibly excited that I’ve finished my year-end lists actually correspond with the end of the year. Without further pontificating, here’s the first half of the year’s best.
Honorable Mention: LCD Soundsystem – Madison Square Garden Show. It’s not an official release, but it proves that the tightest live band in the world only got tighter with time. “Yeah” is an absolute powerhouse.
The genres of folk and post-rock are bursting at the seams with new acts. It was only a matter of time before someone combined the two. Gray Young is the first band I’ve heard that treats both post-rock and folk with individual dignity, creating the incredible Staysail as a result.
The band doesn’t mash folk and post-rock together: this isn’t folktronica. Instead, they tie the disparate sounds together by a distinct mood that runs through each of the 11 tracks. Whether rocking out in a frantic manner (“Inside/Outside”), penning reflective post-rock (“The Dawning Low”) or strumming an acoustic guitar in a very Deja Entendu sort of way (“Unbound”), the band maintains a deeply affected atmosphere. The songs, while not expressly heavy in lyric or composition, maintain a mournful intensity in the background. You can tell they mean this.
That maturity sets Gray Young apart. They’re over post-rock as a statement, and they’re past folk for the earthiness of it. The band is creating art in the best way it knows how, and that requires banjo pluck on “Unbound” and Appleseed Cast-invoking riffs on the standout “Vermilion.” There are some tricks here and there: “Picture (Meridian)” is followed by “Meridian (Picture),” while “Seven:Fourteen” is a bit of a kitschy title. But for the most part, the band is not amazed at their own genre(s). They just write music.
The band does have a vocalist, but most of the time vocals are another instrument, much in the same way Appleseed Cast uses them. When his vocals become to close to the forefront they distract, but he fits in perfectly to tunes like “Cycles” and the first half of “Meridian (Picture).” Still, I could stand to hear less vocals due to their incredible instrumental talents.
Some may take offense that I put folk on par with post-rock in my description, even though just three songs here are led by acoustic guitar (and only two prominently feature banjo). Sure, this isn’t Mumford and Sons with a shoegaze guitarist. But the understanding of the melodic and structural requirements of folk underlie many songs on this album: the rhythm of the banjo on “Prescience” is slightly altered and transposed to electric guitar as the song turns into “Vermilion.” It’s an electrifying transition that shows Gray Young is in complete control of two genres, making them connect as the band decides is best. And, incredibly, the transition out to “Picture (Meridian)” is handled just as deftly.
I’ve heard several great post-rock albums this year, and Staysail is up there with the very best of them (Colin Stetson, Final Days Society). It’s an easy contender for the top ten list, because it’s just so expertly written. There’s not a moment here that gets away from the band. That complete control of mood and composition makes this the excellent album it is. Long live Gray Young.
Stephen Carradini and friends write reviews of instrumental music. We write about those trying to make the next step in their careers and established artists.