|
Pure genius right from the get-go, History Invades breaks
ground into new territory while maintaining an edge and holding hooks
throughout the entire record to create an all-encompassing masterpiece.
The beautiful evolution of music can produce hits and misses and occasionally
it will produce bands that are so far ahead of their time that they
knock the wind out of you when you hear them. History Invades pushes
conceptual art-noise sound similar to DC's The Blackeyes while
giving it a greater marketability by infusing it with excellent lines
that are immediately locked into the listeners' conscience. Heightened
all the more by quick-witted internal changes that make each song
a vast complex of texture and feel, every track moves and breathes
with an inherent life all its own, creating an album with ten completely
different beasts.
Production amorously envelopes the melee that are the songs and leads
them to a common service that is the album. Every instrument and voice
receives due attention and respect as transitions adequately highlight
subtle inflections and more overt payouts. Dual voices balance each
other out nicely providing simple but compelling harmony and killer
juxtaposition as one maintains a smooth line while the other screeches
rhythmically in the background. Guitars bring mostly single note lines,
which tend to weave around each other and occasionally kick into barre
chords for overdrive emphasis; but it is the painstaking effort that
went into choosing just the right sound effect for each second of
each song that puts it over the top. So much variation in sound takes
the guitars beyond a rote instrument, especially in using wah and
distortion like in the end of "Call Me Mint Jelly 'Cause I'm
On The Lamb". Bass is organic and vital to the overall feel of
the record, not a secondary instrument like most bands, this bass
takes the reins and owns his existence creating equally compelling
material as in the instrumental "[-](Beginning)", and continues
a concerted presence across the entire record. Keyboards/Programming,
used smartly and sparsely, add an additional layer without becoming
suffocating, at times giving the album a feel of Autochre,
such as in the other instrumental "Here Comes The Smart Patrol".
Drums, which are the least emphasized instrument on the record, have
the greatest challenge of making this amalgamation coherent, and they
do so with flying colors, linking all sections without showboating
yet giving additions just as interesting as the rest of the band.
This band just comes off as highly intelligent and cultured, nailing
that certain edge that makes it fascinating yet giving enough hooks
to make it accessible for the masses. Add to this the mind-blowing
quality of each song to change and morph; you have a record that becomes
an instant classic as it maps the future of music.
-bishop
Track listing:
1) We Ran Out Of Bridges So We Burned Down Our Houses
2) Nightcap
3) Call Me Mint Jelly 'Cause I'm On The Lamb
4) [-](Beginning)
5) It's All Over (Ending)
6) Here Comes The Smart Patrol
7) I Am The CEO Of McDonnell-Douglas
8) My Name Is Afraid
9) Ninety Nine Things They Told Me Not To Do
10) Everybody Has Something To Except For Me And My Wildfire
Check out more
reviews
 Talk
Back
e-mail the
chief
Like this article?
e-mail it to
a friend!
|
History
Invades 
