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Score: 6.5/10

For a band stemming from classical roots, Brooklyn’s quintet Build has developed quite an edge. Not small was the surprise when, at a first spin, I had to confront something different than the usual whimsical downheartedness contemporary compositions tend to attain. Soon enough, I grew worried to notice that something does not sound quite right in the amalgam of stringed instruments and piano; its cheerfulness triggered a merry-go-round of mixed feelings, from disappointment to euphoria and back. But I digress…

This debut album kicks off with “The Backyard” and immediately strikes as curiously unusual. Not only does it sound absurdly studied, thus failing to integrate it into any jazz or related genre, but its use of violin also cues to Final Fantasy, an upbeat violin-based solo group mostly renowned in indie circles. After a public display of fiddle virtuosity, the opener turns into a rhythm perusal, carefully examining every note and each musical fragment, making sure everything stays at a very precise staff location. Despite the feeling of contrivance it conveys, the piece is an enjoyable one, for Build chose to stay on safe grounds and ensures that its effort serves as a modern music intermission. If anything, the clear, sprightly rhythm put forward works as an ironic novelty. Concentrate for a minute and answer yourself this simple question: when was the last time you listened to an album that didn’t jump-start a cardiac arrest with every change of rhythm?

Moving on to “Magnet,” Build explores the playful quality of their instruments, carefully twiddling with patterns. In their extremely subtle melange of piano, violins, double bass and percussion, no stone is left unturned, and the track slowly develops into a contemporary minimalistic piece, using repetitive figures to drift into predictability while still embracing harmony. Moreover, every track seems to exploit a dominant instrument that leads it to a very accurate space, and the vintage feel to “No Response” might be ascribed to the extensive use of a delicate piano structure that is skilfully prolonged by the violin.

However, the kinetic tone is soon to swerve, for “Imagining Winter” is a thoroughly dark piece that to some extent serves as an intro to “Driving,” the longest track and the high point of the album. At this point, Bohren and der Club of Gore came to mind, with the exception that this ensemble not only tends to veer into another direction (whereas the aforementioned take into account various dimensions), but its members also seem to have a more down-to-earth approach to their own instruments’ capabilities.  This song is used as an example of how these can merge together towards investigating musical concepts.

With the last song on Build’s self-titled album we seem to be back on the lively track, and for once a tint of jazz can be perceived. The piano kicks in and interrupts a well-laid violin and drums foundation, colliding with a bizarre experimental atmosphere. Not long after, everything seems to start following the direction imposed by the piano, which serves as the lead instrument one more time. Then, when double bass is introduced, the violin acts in the piano’s place, and suddenly the whole picture is different, and the track ends up as a wrap-up of the whole album. Keeping all instruments in focus, the song gets incredibly intense towards the end, and unlike the other tracks, it works toward an astonishing progression.

All in all, Build manage to construct that kind of G-rated album; it can be a pleasurable experience for all members of one’s family, but it might require a certain disposition if you’re used to more raucous acts.

–Diana Sitaru

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