You hear it constantly these days: "The rock band is dying; the rock band is dead." Whether this outlook is simply a jaded gripe, a universal truth, or some combination of both, it behooves a band in the modern age to seek ways to define themselves as more than "just...
thisquietarmy
Hex Mountains
Denovali Records (2013)Hex Mountains is a black mass, that rends the veil of consensual reality, plunging the listener into a twilight afterlife of elder gods and ancient wisdom.
It's good to have post-rock back.
For years, it seemed that all the genre could produce was ham-fisted Mogwai knock-offs that lost the emotional subtlety and expansive listening habits of the original movement. Imitators with long names sucked the marrow right out of post-rock's bones until it was an embarrassment, a shell of its former self. People forgot how thrilling it could be to combine the crushing weight of metal with the sonic possibilities of electronic music, and the weird eeriness of drone.
The Denovali Records release of two albums from Montreal drone alchemist Eric Quach, who has released over 50 albums under the name thisquietarmy, suggest that this is about to change, and that it is again okay to appreciate epic instrumental rock 'n roll; people are finding new and interesting things to do with the format.
Hex Mountains suggests a new phase in Thisquietarmy's extensive catalog. After touring with heavyweights like Year Of No Light and Deafheaven, Eric Quach wanted to turn up the intensity. He shattered the traditional isolation of TQA's somnolent soundscapes, to enlist members of Alashan, Northumbria and Monarch. It's some of his most pummeling work to date.
There are few constants in life, but one thing that can usually be relied upon is that every Mount Eerie performance is going to be different from the last. At this year's MusicfestNW that may or may not have been the case considering Mount Eerie opened for Bonnie Prince Billy two nights in a row at Aladdin Theater -- but if you caught one of those sets, it was probably quite a different affair from the last time you saw Phil Elverum perform.
Elverum is an adaptable performer. Aladdin Theatre is a sit-down venue, and a Bonnie "Prince" Billy show necessitates a fairly muted and low-key scene. Sure, the sold-out crowd was buzzing, but they were buzzing about as much as you can for a headliner that plays Americana and folk. Mount Eerie's performance switched to match that feeling in the air. On stage, it was just Elverum with an acoustic guitar flanked by two female singers, singing backup vocals and doing verbal renditions of some of the instruments on his songs. It was a change from sometimes noisy and fairly abrasive solo shows.
The chatter overheard afterwards ranged from people wondering who the hell Mount Eerie was to those wondering what the hell Mount Eerie was doing. It was an odd set from Elverum for sure, but a bold one, and one that he hit right on the button. Sometimes -- especially with Mount Eerie's recent sounds -- it's easy to forget how soft Elverum's music is at times (see: “Through The Trees", below). This particular performance was one that seemed a little bit out of left field, but it was one that worked as well if you appreciate the variety of Elverum's music.
Editor's Note: We should probably also mention his upcoming November 2013 LP, the ironically-titled Pre-Human Ideas, which features auto-tuned versions of songs from his recent LPs. Yeah. Seriously.
"When you play a show, you want people to feel something," Welsh told Pitchfork's Jenn Pelly in a recent interview. "It's much better to communicate something than for people to just be like, 'Oh this is cool.'"
As Welsh performs -- he's strictly the lead singer of the two-piece group that includes Matthew Otto on synth and sound mixing -- he slowly rotates his gaze throughout the crowd, moving at a snail's pace from left to right and then back again. You won't see him shutting his eyes or staring off into the distance, because his priority is ensuring that each word coming out of his mouth is fully digested by the crowd. He doesn't just casually look out into the crowd to gauge his audience, either. He stares into the eyes of every onlooker, and when his pupils fall on you, it feels like an intimate and intensely personal performance.
BRAIDS
Flourish//Perish
Arbutus Records
Montreal-based indie band BRAIDS make music that one rarely encounters: music that is meant to be processed and digested, bit by bit, as opposed to gulped down in one large bite.
BRAIDS' 2011 debut Native Speaker was a lush, layered, complex swirl of dreamy melodies, and while their sophomore album Flourish//Perish has a similar feeling, it is a longer record that allows for expansion upon their sound. Aside from the vague comparisons to post-rock/shoegaze/indie pop, it is difficult to put specific genre categorizations on BRAIDS. Each song on Flourish//Perish has its own tone and tenor, making it a bit hard to conceptualize; the overall effect is delicate, intricate, at times jarring, and alternately soothing.
PHOTOGRAPHY BY TANYA TRABOULSI