The Week in Albums: Apr. 29

Another quiet week for releases. I'm covering two moderately reviewed indie-friendly albums, plus an intense metal album that got some great reviews earlier in the year.

#1
Take Care, Take Care, Take Care
Explosions in the Sky
Temporary Residence

As I sit here, only days away from being done with college, it's easy to reflect back on the past four years of my life. One random observation? I've never, ever gotten into post-rock. That horribly named subgenre, with its noodling instrumental virtuosity and wide-screen epicness, is usually seen as tailor-made for the collegiate masses. It all sounds "so deep... man," which suits an environment already rife with introspection, pretentiousness and lots of discussing the meaning of life. Explosions in the Sky are one of the more beloved post-rock bands operating today, but thus far I've managed to avoid their supposed charms and Take Care, Take Care, Take Care is doing nothing to change that fact. Over forty-six minutes, the band churns out pretty guitar instrumentals, but ones that feel devoid of any tension, emotion or drive. Occasionally things get noisy, but not noisy enough. If I wanted big, sparkly grandeur, I'd play a Sigur Ros album. So there you have it. The world will shortly have one more college graduate who isn't into Explosions in the Sky. Count us while you can, 'cause we're a dying breed.

Simon's Grade:



#2
Wit's End
Cass McCombs
Domino Records

The latest in Pitchfork's endless string of left-of-center Best New Music nominees, Cass McCombs' Wit's End continues the Californian songwriter's run of good-not-great albums of tender balladry. After last year's Catacombs raised his profile, Wit's End has been getting more attention than any album in McCombs' history, mostly for the better. His songs are gentle, often sad and more than a little influenced by the radio-friendly pop-rock of the 1970s. It's an odd combination, especially given today's love of all things shoddy and low-fi, but McCombs mostly sticks the landing. Particularly with the moody opener "County Line" and the sprawling piano drama of "Saturday Song," Wit's End is packed with emotionally charged moments, bursting with pathos and minor key chord progressions. Is it all a bit schlocky? Perhaps, but there are some solid melodies and lyrical gems hidden in there. Those things are always good in my book.

Simon's Grade:



#3
Angels of Darkness, Demons of Light I
Earth
Southern Lord Record

Drone metal can be a bit of a tough sell, but I honestly find it one of the most accessible types of hard rock. Since it usually veers away from the throat-shredding vocals, growling and general scariness people associate with the genre, I think drone has plenty of crossover potential. Sure, there's that whole "seventeen-minute-songs-themed-around-death" side of things, but nobody's perfect. Angels of Darkness, however, the latest release from my fellow Seattlites Earth, provides an excellent example of how listenable drone metal can really be. Over the album's five, extremely lengthy tracks, the band runs through a series of musical themes and riffs, all with funereal pacing and a fairly gloomy atmosphere. Angels of Darkness excels due to the raw, emotional cello that underpins much of the guitar dirge, as well as some excellent use of tension and musical catharsis. The album got plenty of critical nods upon its release in February and I have a hard time saying it doesn't deserve the praise. So, go check it out. Drone metal might not seem like your thing, but Angels of Darkness makes it surprisingly palatable.

Simon's Grade: