[Concert] A Silver Mt Zion Live at La Sala Rossa on 2005-06-16 (Archive.org)

A Silver Mt. Zion (and its various titles), a band from Montrèal, is probably the best known act which is grown out or related somehow to Godspeed You! Black Emperor (formerly as Godspeed You Black Emperor!) and is the most involved band via its members (Efrim Menuck, Thierry Amar, Sophie Trudeau) as well. In fact, the aforementioned musicians have been influential collaborators not only on the post-rock scene but also related to alt-folk and indie circles in the North America during last 10 years at least. However, after GY!BE was going on hiatus, therefore the prime privilege was delegated over to ASMZ. If to compare differences between two bands, in the first place, it is the using of vocals, and the soundscape of ASMZ is inclined more to psych-oriented numbers, and indie music as well. For an argue, it seems a bit slower, having been involved in classical music-based arrangements (eminent cello and violin undercurrents), and via Menuck`s gratingly lamenting and sometimes euphorical vocal manner as well. All of those elements are to be heard in an excellent way on this live session also, recorded at La Sala Rossa in their hometown in 2005. Inbetween the songs you can be a witness for the interactivity between Menuck and audience and jocularities regarding "dudes", iPod and Coldplay, and birdfeeders as well. My cue toward indie music wasn`t arbitrary because of Menuck`s euphorical and lament manner (sometimes simultaneously) and the exploiting of chamber music devices and elements so you are getting to see more the link between ASMZ and Arcade Fire (moreover, they have more common through of recruiting the same musicians, and using the Constellation-related studio Hotel2Tango too).

Listen to it here

...And The Earth Swarmed With Them The Fading Voice Of The Old Era Speaks To Us, But Where Are The Ears Left To Hear It? (Hawk Moon/Bandcamp)

The long-named bands with even longer album titles are used to be having a reference to... . To what exactly, I mean, actually?

The four-track debut release, not including their demo issue approximately 6 months ago, by the Essex-based band, consisting of Mitchell G. Johns (guitars, bass, keyboard), Ted Parsons (drums), Kat Stanbridge (vocals), Chrysa T (vocals), Jeff Ball (violin). Quartet`s high-chorded guitar pieces, solid channelizing into sublime sonic upturns and crescendos, middle-paced and low-paced tempos, obligatory march rhythms, and in-chamber noir-drifting ambiences; indeed, after broody low-key shuffles around there it is going to have epic turns into instrumental trance-evoking soundscapes. Infinite drifts inbetween silence and noise, (as one of the main concepts of music is used to be), inbetween ascents and slowdowns. In short, the array is not surprising if you are used to get involved in post-rock tradition, though, there are some unexpected moments hitting against your experience and premiss-swamped networks. For instance, using the female vocalis not an usual pattern, moreover, in the ending track The Slow Decay Had Already Begun Kat Stanbridge has embodied into a role of a soprano fury directing the band`s conception across on the other side, being rather placed closer to the likes of symphonic metal acts (for instance, Diablo Swing Orchestra, and Nightwish) than the epicness of instrumental (post-) rock music. By the way, the album is fringed by some peripheric pop luminaries: In addition to Ted Parsons (Jesu, Godflesh, ex-Swans) behind the drums, the album is mixed by Justin Broadrick, and mastered by James Plotkin. In a nutshell, even it might be seemed a bit decayed it is a strong work yet. Take your time out and concern on it.

Listen to it here

8.4

[Artistid] Molly Shannon, Molly Shannon

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