July Releases Reconsider Music’s Love of the Past

Release of the Month ~ July 2011

The Silent Ballet staff counts down its top picks of the month.

In Simon Reynolds’ recently released Retromania, the columnist makes a strong case for the theory that today’s music is hopelessly enamored with that of the past. In the arena of popular music, he’s entirely correct; the hits of today blithely follow the template of the past two decades, and it’s been a while since a new genre (such as rock, disco or rap) has taken the world by storm.

For the most part, musicians do look to the past for inspiration, and every “new” genre blends elements of the old. Foreign sounds take time to feel familiar, which is why innovation is typically found on the fringes; by the time the mainstream catches up, the outskirts have moved on. But when it comes to creativity, there’s no reason to despair. New sounds continue to grow in the crevasses.

In the past month alone, we’ve seen the release of albums that amplify the sounds of water beetles and abandoned malls; an album performed on broken harmoniums; a debut EP presented in a box of beach glass; and a concert event preserved on a flash drive hidden in a pocket-sized tiger.* This is an extremely exciting time for music, if one knows where to look.

This month’s top picks may build upon the past, but none can be considered “retro”; each is clearly a 21st century creation. This is where the future of music finds its foundation: not on the airwaves, not in the adverts, but here in the field of lawless sonics, the teeming desert beyond the flourescent lights.

* Tom Lawrence‘s Water Beetles of Pollardtown Fen; Simon Whetham‘s Mall Muzak; Sigbjorn Apeland‘s Glossolalia; sink/sink‘s center folds; Eleven Tigers‘ 111.

1) Necro Deathmort ~ Music of Bleak Origin
Distraction Records
The electro-drone-doom duo return after 2009’s crushing This Beat is Nectronic with a much darker, heavier and more focused effort. As far as album names go, this one fits the music like a glove. It is bleak, very bleak, and that sense is perfectly transmitted to the listener as the album progresses. Tracks like “Temple of Juno” and “For Your Own Good” are clear examples. With the ambient touches spread throughout the latter, the band has achieved a more complete sound. This new sound can be said to be totally their own; they have created their own musical niche, and a deeply disturbing one at that. A fantastic listen from start to finish. (Mohammed Ashraf)

2) *shels ~ Plains of the Purple Buffalo
shelsmusic
The 77-minute Plains of the Purple Buffalo is so vast in scope, so varied in sound and so consistent in quality that it serves as a revelation. 2011 has been a surprisingly solid year for post-rock, and Plains is the summer’s defining statement. By virtue of its length, it’s packed to overflowing with even more interludes and crescendos than one might reasonably expect to encounter. The vocals and brass put it over the top, reaching an early peak on the two-part title track. While other veterans have garnered mild praise for half-decent releases, *shels has produced a masterpiece that renews our faith in the evolution of the genre. (Richard Allen)

3) Tangled Thoughts of Leaving ~ Deaden the Fields
Tangled Thoughts of Leaving
Tangled Thoughts of Leaving cover a lot of ground in their hour-long Deaden the Fields. Opener “Landmarks” alone touches on jazz, progressive rock, jerkier math elements and post-rock. The rest of the album is somewhat more ordered, but no less eclectic. Though even more influences appear, from classical to electronic, the length of the pieces allows the band to stay on one course long enough to get settled before they change tack with smooth sleights of musicianship. Alongside this, the band’s keen sense of drama makes Deaden the Fields such a success. Evocative yet mysterious titles like “Deep Rivers Run Quiet” and “They Found My Skull in the Nest of a Bird” capture the mood perfectly. Brooding passages are balanced with explosive action, serenity with intense buildups. This dark, theatrical atmosphere holds the album together through its many twists and turns; it is also what makes it so enthralling. (Matt Gilley)