FROM FATHOMS

It seems that the more I investigate this phenomenon known as "post rock," the more I come away getting the feeling that many of the constituent bands have no defining features, no musical fingerprint, as it were. All of these damned bands sound the same and use the same tired techniques: Speed picking a few long notes, washes of distortion, constant crashing cymbals, occasional quiet moments almost always consisting of clean guitar with a chorus effect, no lyrics, repetition, commonplace chord progressions, and silly "artistic" titles. Even the names of many of these groups make me roll my eyes- one can generally know what the music is going to be like if the name of the band is "Everything in the World Doesn't Spin Around Your Grandfather's Grave." These elements are definitely present on From Fathoms, but the compositions themselves are not dull, and the band does a decent job executing them. Still, as with most music in the genre, much of it passes by, leaving behind no memory that it was ever there, like an ornate sand castle just before high tide.

"Benthos" The guitars wash over this track in a mighty way, offering subtle bends and lovely melodies. Surprisingly, there is some rich variety in the composition that keeps it from getting stale.

"Weightless Frame" Electronic percussion brings in that loud, unoriginal-sounding lead guitar. When the intensity subsides, what is left is a calming acoustic, vocal portion.

"Weightless Thought" This is a grungy, indie-rock sounding track that sounds like a band playing at a party at someone's house. It grows aggressive, as the entire piece is drowned out by crashing cymbals and grainy distortion.

"Trieste" Light guitar begins this twelve-minute instrumental. It steadily grows heavier, soon becoming yet another dreary piece of distortion-washed mire.

"Resurface" Shimmering guitar makes for an airy beginning. The addition of a bass adds a chord progression that, while completely pedestrian, works very well in this context. Predictably, the distorted guitars and crashing cymbals move in. It gives way to a gentle acoustic guitar passage.

"Melted Wings" This is something more interesting, I must say. It consists of that chorused guitar, which builds several times as the rest of the band comes in to a crashing climax before going right back to the chorused guitar. When a steady rhythm finally does enter, it is unlike much of anything else on the album, and almost sounds like the backing music for a Fleetwood Mac song (try not to hear Christine McVie and Stevie Nicks singing over this one). Of course, it wouldn't be post-rock if it didn't take an amazing musical idea and slaughter it with distortion and cymbals.

"Thawed Horizon" Yet another plain Jane post rock track with all the usual tricks, but does possess a few exceptional melodies (presented in the usual way, of course). It has quiet clean guitar at the end (a common theme on this album) and some distant speaking.

"Aves" Windy noise underlies a palm-muted guitar riff as another clean guitar joins in, creating some excellent music. Following the obligatory loud part, the clean guitar returns, this time with some delicate electronic noises. Soon, a two chord conclusion comes in with something akin to a guitar solo over it.