FakeLaser
03-14-2011, 12:40 PM
As also posted on PimpRadio:
http://dukeofstraw.com/lategreats/wp-content/uploads/2011/03/Explosions-In-The-Sky-Take-Care-Take-Care-Take-Care.jpg
A return to form?
I’m listening to this for the first time through now. Explosions In The Sky are probably my favorite of the great instrumental post-rock bands out there. Their first three releases were absolutely stunning pieces of music. I wasn’t as huge of a fan of All of the Sudden I Miss Everyone, where I thought they sounded kind of tired and predictable.
It’s true that they’re a band that may sound a bit tired and predictable, as a lot of the songs sound pretty similar. EITS have a very distinct sound, and none of their tracks are immune from it, which is an ailment of any instrumental act. They’re strictly a guitar band, so there aren’t going to be a lot of different sounds. It’s not necessarily a bad thing, as they have their act pretty well perfected, however, it may get a bit monotonous to some. However, if you’re in the right mood, EITS can take you places few bands can.
The first track on this album, Last Known Surroundings, instantly grabbed me, like I was grabbed by First Breath After Coma, one of the greatest opening tracks of all-time, the first time I heard it. They experiment with vocals (of sorts) on Trembling Hands, which is uplifting in a bizarre way. Postcard from 1952 follows the typical EITS formula of starting off slow and exploding into a wall of guitars that manage to sound more powerful and more emotional than any vocals can.
I can hear them trying to do something different in the closing track, Let Me Back In, which has what may even be described as guitar hooks. I almost want to dance. A really, really, depressing dance. There’s some keys in there too. It’s still a very EITS track, exploding into yr typical crescendo at the later portions and back again, but it’s something a bit different. There are definite “sections” to the track. It’s interesting, nonetheless, interesting enough for me to spend more than a sentence on. It ends with some weird, distorted chants, bringing the album to a close.
I guess in the end, this is a really good album, by a really good band, doing what they do best, and that’s making beautiful, emotionally-affecting instrumental music. It’s not innovative any more, if it ever was. It’s just really good music. That’s what EITS always has been, and always will be.
Maybe All of the Sudden I Miss Everyone is as good as this album, or their otherworldly first three releases. Maybe I wasn’t in the right mood the first time I heard it. Maybe I was in the right mood the first time I heard this one. Maybe these guys sound refreshing again, after four years, given all of the electro-chillwave-dubstep and lo-fi we’ve been force-fed since their last release (not that I don’t enjoy it.) Whatever the case, I’m slapping an 8.5 out of 10 computers on a scale of computers on this sucka. Well worth the listen.
http://dukeofstraw.com/lategreats/wp-content/uploads/2011/03/Explosions-In-The-Sky-Take-Care-Take-Care-Take-Care.jpg
A return to form?
I’m listening to this for the first time through now. Explosions In The Sky are probably my favorite of the great instrumental post-rock bands out there. Their first three releases were absolutely stunning pieces of music. I wasn’t as huge of a fan of All of the Sudden I Miss Everyone, where I thought they sounded kind of tired and predictable.
It’s true that they’re a band that may sound a bit tired and predictable, as a lot of the songs sound pretty similar. EITS have a very distinct sound, and none of their tracks are immune from it, which is an ailment of any instrumental act. They’re strictly a guitar band, so there aren’t going to be a lot of different sounds. It’s not necessarily a bad thing, as they have their act pretty well perfected, however, it may get a bit monotonous to some. However, if you’re in the right mood, EITS can take you places few bands can.
The first track on this album, Last Known Surroundings, instantly grabbed me, like I was grabbed by First Breath After Coma, one of the greatest opening tracks of all-time, the first time I heard it. They experiment with vocals (of sorts) on Trembling Hands, which is uplifting in a bizarre way. Postcard from 1952 follows the typical EITS formula of starting off slow and exploding into a wall of guitars that manage to sound more powerful and more emotional than any vocals can.
I can hear them trying to do something different in the closing track, Let Me Back In, which has what may even be described as guitar hooks. I almost want to dance. A really, really, depressing dance. There’s some keys in there too. It’s still a very EITS track, exploding into yr typical crescendo at the later portions and back again, but it’s something a bit different. There are definite “sections” to the track. It’s interesting, nonetheless, interesting enough for me to spend more than a sentence on. It ends with some weird, distorted chants, bringing the album to a close.
I guess in the end, this is a really good album, by a really good band, doing what they do best, and that’s making beautiful, emotionally-affecting instrumental music. It’s not innovative any more, if it ever was. It’s just really good music. That’s what EITS always has been, and always will be.
Maybe All of the Sudden I Miss Everyone is as good as this album, or their otherworldly first three releases. Maybe I wasn’t in the right mood the first time I heard it. Maybe I was in the right mood the first time I heard this one. Maybe these guys sound refreshing again, after four years, given all of the electro-chillwave-dubstep and lo-fi we’ve been force-fed since their last release (not that I don’t enjoy it.) Whatever the case, I’m slapping an 8.5 out of 10 computers on a scale of computers on this sucka. Well worth the listen.