Classic Rock Bottom

This week's selection might be the fifth in a series. Then again, it might not.

Before we get rolling, let's grab the bio of Godspeed You! Black Emperor from allmusic.com (complete with filthy language):

The instrumental multimedia Montreal group Godspeed You! Black Emperor create extended, repetition-oriented chamber rock. The minimal and patient builds-to-crescendo of the group's compositions results in a meditative and hypnotic listen that becomes almost narrative when combined with found-sound splices and the films of their visual collaborators.

GY!BE formed in 1994, and that year self-released a limited-run (33 copies) cassette entitled All Lights Fucked on the Hairy Amp Drooling. The band's next recording, F#A#(Infinity), was initially a limited-run release of 550 LPs on the Canadian label Constellation, but was picked up by Kranky and released on CD as well. Early 1999 brought the EP Slow Riot for New Zero Kanada (released by both labels) and increased recognition for a band intent on retaining anonymity. Nevertheless, interest in GY!BE only continued to grow among new music fans, with much positive attention from The Wire magazine, the band's participation in the John Peel-produced Peel Session for the London BBC, and the group's consistently impressive live shows, including their performance at Quebec's 1999 new music festival FIMAV and a tour with Labradford later that year.

GY!BE performances generally include at least nine or more musicians and a projectionist. The instrumentation consists of three guitars, two basses, French horn, violin, viola, cello, and percussion. The year 2000 brought about the release of Lift Your Skinny Fists Like Antennas to Heaven, pushing their diverse orchestral rock sound even further into the universe. Yanqui U.X.O. followed in 2002. GY!BE remained in absentia until they reassembled for a tour in 2010. Another tour commenced in September of 2012 with stops at both the Pitchfork and All Tomorrow's Parties festivals of that year. In October, GY!BE announced 'ALLELUJAH! DON'T BEND! ASCEND!, their first recording in a decade, a mere two weeks before it was released. Drummer Tim Herzog replaced Bruce Cawdron around this time and GY!BE played sporadically for much of the next two years as they worked on their sixth album between late 2013 and 2014. Asunder, Sweet and Other Distress was recorded in Montreal and North Carolina; it marked the band's first single LP-length release since 1999. Recorded and mixed by Greg Norman, it was issued in the spring of 2015.

The pick this week is F#A#, or F#A# (Infinity) for those having a hard time pronouncing the title.

I can almost guarantee what some people will say about this album, but that's ok. They're wrong. But hey, it's only three songs. This is the type of album that you need to listen to with headphones on and all the lights out. Or, take a long trip at night on some deserted highway with the volume turned up. 

For those that have seen 28 Days Later (no, not the Sandra Bullock movie), a part of this will be familiar. For those that haven't, listen to this first and then see the movie. The portion of music used in that movie fits in perfectly.

Note: When you think the last song is over, it's not.

Wrapping this up, it's now time for the allmusic.com review:

"We are trapped in the belly of this horrible machine, and the machine is bleeding to death." Few albums begin with such promise and foreboding, but this first full-length from Canadian genius collective Godspeed You! Black Emperor succeeds in the first few moments. F# A# (Infinity) contains three compositions that run the gamut from grotesque to sublime. The term "composition" seems an appropriate one to use as this band does not write songs. Each piece is at least 14 minutes in length, consisting of three to four sections. The band, a nine-member unit consisting of guitar, drums, bass, strings, keyboard, marimbas, and woodwinds, intersperses voice-over narrative with sprawling instrumental melodies. The arrangements move slowly, building from hushed silence to cathartic crescendo and back again. The narratives that accompany the music meditate on the corruption of the American government and the seeming emptiness of the postmodern era. At times, it seems that the music might offer hope, but alternatively, the haunting melodies can serve to emphasize the confusion encountered in these stories. As "Dead Flag Blues," the album's first track, unfolds, the speaker's voice is undercut by a poignant string melody and the piece builds to a beautiful peak. "Dead Flag Blues" is a four-part arrangement in an apparently symphonic pattern. A theme is stated, followed by a quiet interlude out of which the tension builds to disaster/epiphany and finally a quiet reprise of the initial melody is given. The albums second piece, "East Hastings," follows a similar pattern, producing brilliant results. "Providence" is the album's final piece, a bit longer than the others, but lacking the consistency and unity of its counterparts. The music on this album is unique and powerful. One would be hard-pressed to find any imitators of this revolutionary musical form created by GY!BE Its origins are as much avant-classical as they are rock & roll, and the band has achieved a true synthesis of the two forms, expanding them to new boundaries. This music is inherently inexplicable, and this is its beauty.

F#A# (Infinity)

1. The Dead Flag Blues (Intro)

2. East Hastings

3. Providence

Availability: Around $30 new, appears to be OOP.

 

 

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3 songs and a full album! Right in my wheelhouse! (What is a wheelhouse anyway? I've just been saying that lately because everybody says it too). But this is definitely a "one at a time" listening approach...


The Dead Flag Blues (Intro) - The narrative gives me the impression of an Armageddon of sorts, but even more than that, it feels like its from the perspective of some militia group holed up on in Montana (Yes that's what came to mind). Dead Flags all around, not really sure where to go with that, other than everyone for themselves! This will be a ride for sure. A slow ride, but it seems like the calm before the storm. You get to about 7:40 in and it goes silent almost... eerie silence until 8:15ish. Its 100% atmospheric until 11:30 when some music slowly fades in and then slowly fades out. Its painting a dreadful picture, which I think is its intent up to this point.

more to come...

East Hastings ... Not sure where to go with this really.  It seems to be more "calm before the storm" music.  There are certainly interesting textures and when you think about what this is about it does enhance the experience, but I'm still left with the thought that this would be so much better with a visual, maybe its more suited as soundtrack?  As we hit the 11 minute mark the pace picks up but I'm left wondering how the people fared in this havoc that must be happening to them. The band takes you to a confusing place after the music dies down and the atmosphere is clearly different...  Alarms and the feeling of dread close out the track...  Hopefully the conclusion will tie it all together?

This is part of the scene in 28 Days Later where "East Hastings" was used:

This is the full scene, but the video is crappy. There's also an ad...

Well that's certainly not Montana and that's no head of any Militia!  hahahaha...  But it does make the music come to life. Wonder if that money will do him any good?

The Dead Flag Blues

Wow, I'm befuddled.  I thought this series that may or may not be a series was about superstar guitarists.  At least that's what Scott said.  Well, it's definitely not Scott-Rock.  It's ten minutes into the first song before I hear a guitar.  Once that kicks in, it sounds terrific.  Very laid back.  

But I digress.  The first ten minutes were like a movie.  As a matter of fact, I'm sitting in my chair on a Saturday afternoon with my head phones on, the television is on but the sound is turned down, and I'm watching Seven Angry Men on the Turner Classic Movie HD channel.  That first ten minutes went really well with the old black and white movie.  

To this point, this doesn't sound like the work of a guitar whiz, so I'm gonna say the series, or not a series, is just about instrumental albums in general.  Last two minutes has a folk/bluegrass/country feel to it.

East Hatings

Seems to be more of the same for the most part.  The guitar and pace picks up just a bit, which is nice.  What is that instrument?  I think it must be the cello.  Then it all stops again at about the 8 and a half minute mark.  Definitely sounds like a movie's musical score.  But I will give you this, I'm not bored at all listening to it.  Now it's picking up again.  Like a train picking up speed.  Very cool. The spoken parts are definitely eerie.  It sounds familiar.  Maybe from 28 Days Later. By the way, my wife loves that movie.  I'll check out the clip later.  

Providence

Again, more of the same.  The violins (or fiddles) would fit really well with the music I've been listening to lately.  This is definitely diverse.  I believe I'm now hearing a xylophone.  The guitar tone around the 8 to 9 minute mark reminds me so much of something, but I just can't place it.  Evil chanting.  

Why the long silence toward the end.  Then, more "sounds like somebody is fixin' to get killed music, then with two minutes left, a slight taste of rock and roll.  And it's over.

This was a strange listening experience.  Not strange in a bad way.  Strange in a somewhat cool way.  I've definitely never heard anything like this before, so once again, you've done your job.

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