AVOID THE LIGHT

I have a hunch that quite a few bands under the post-rock label are simply bands with great musical ideas (excellent riffs and what not) but lack confidence in writing lyrics or performing vocals, because so much instrumental post-rock music consists of what are effectively wordless verses and choruses- basically music that would serve as a foundation for someone singing lyrics, without really anything else happening. I could be wrong, of course, but I fail to see the purpose in crafting music that involves playing the same pedestrian riff or chord progression over and over again with minimal variation.

"Apparitions" While the opening piece remains beautiful throughout, the truly interesting parts are few and far between. Perhaps the only reason this track is twelve minutes long is because it is replete with repetitiveness- the same riffs played almost incessantly and with gradual adaptation. Thankfully, the band intersperses the loud, crunchy fare with gentler passages, but that alone is not enough to maintain my interest.

"Black Paper Planes" Tinny, atmospheric sounds begin the second track just before a gritty guitar riff takes over. A steady drum interlude with a simple synthesizer lead over it makes up the middle portion.

"359°" This piece begins pleasantly enough, and remains such, but the lack of any evolution concerns me- it's essentially the same chords over and over for two minutes, then there's a new set of chords to play for the next two minutes, and so forth.

"I Know You Stanley Milgram!" This is one of the heaviest pieces on the album, but again, it's taking the same riff and performing it until their fingers are numb and they are forced to do something a little different. This time, that something different is giving the bassist a solo and letting the guitarist play a few notes here and there over it. Over halfway through, there's a slow, kind of surf-rock thing going, but like everything else, it wears out its welcome.

"The Nearing Grave" The opening guitars on this track are expressive and carry a good tone, but once that business is done, it's back to mid-tempo heaviness. The featured vocals of Jonas Renkse add a modicum of vitality to an album that has been on life support. Even though his voice is mellow with almost no range, his presence on the rest of the album in some way could have proved to be a big help. The vocal work, completely sedated though it may be, really adds a greatly needed dimension.

"Sundown Highway" Moderate drumming begins the last track, as soft keyboards and bass enter. Various guitars play different lines, producing a rich sound, but of course, nothing worth looking forward to the next listen. The second half of the piece proper consists of a few interesting parts (mainly from the bassist and drummer), but the guitars rattling off the same notes twenty times in row is only worthy of a dismissive yawn.