God is an Astronaut Do it Again!!!!!
sylantroadie | Fort Worth, TX USA | 06/13/2007
(5 out of 5 stars)
"Don't you love it when your most anticipated release of the year lives up to your expectations. Undeniably my favorite band at the moment has pulled off a stellar release that shows a maturing in their sound. That band is God is an Astronaut. This albums is nine tracks of perfection and will most certainly be a contender for my top 10 picks of year unless something completely miraculous happens. Their sound is undeniable, but on Far From Refuge, they have taking that sound to a new emotive level. The compositions are intricate and well thought out with moments that explode into quietness. Torsten, Neil and Lloyd are a force to be reaconed with as their brand of post-rock screams into your speakers.
The album begins with the pulsing beat of Radau. Drums thump and set the tone for the immensity of the album. High hat joins in as spacey keys and guitars fill in the cracks between the pulse. A few moments later, the guitars build and the bass throttles, pushing the rest of the band forward. Radau has a sense of immediacy and desperation. The bass work is by no means mindless on this album, but it mirrors the guitar sounds while keeping the glue necessary between drum and guitar. These Irishmen know what they are doing and their compositions just float on endless keys of anxious moments. A six minute tour de force, Radau opens this disc with high energy and aggressive style. Far From Refuge is the title track and falls in after the album's pounding beginning. A bed of ambient keys floats across the speakers as drums come in to set the pace. This is a nice change of pace and really sets a foil to the first track. The guitar is glimmering and shimmers nicely on top of the careful bass and drums. The mood is somber and more melancholy than the first track, with fluted keys and warbling melodies. The shimmery ambiance eventually takes over as the languid pace plods along at perfect timing. The tumult grows dim and then bursts into loud bass and soaring guitars. This is fades with vibrations and shimmers into the next track called Sunrise in Aries. This track begins with a mid-tempo drum beat, warbly guitar and light keys. The movements in this piece are peaceful and the volume moves up and down to give flavor to the moment. Subtle in execution, Sunrise in Aries delivers a ray of hope in the midst of the Refuge which is lacking.
Grace Descending begins with bright piano in a minor key. The drums play a marching beat on the snare while the bass drum thumps to keep time. The bass glues the pieces together as the piano sings its melancholy tune. The guitar brings in variations on the piano's theme and fills out the voids in the musics cracks. The keys play with decending lines as "grace" falls upon the listener as the drums, bass and guitar explode to provide a contrast with the even handed ivorys. This fades into an ominous oblivion and opens into New Years End which begins with just bass and shimmering guitar in the background. A guitar line plays the melody and the drums slowly work their way into the mix. Eventually, all the pieces come together into perfect composition with keys laying another cushion for all the instruments. Guitar parts become more complex and abundant as the tune goes on, but the subtle quietness of this tune is not lost on the build. The crescendo is immense and breathtaking as guitars blend into one another, creating a wall of sound that does not lose the melody.
Darkfall begins with ambient keys and what sounds like work on a cello. As its title indicates, there is a dark feel to the beginning, but it's not an altogether hopeless darkness. This is a major aspect of GIAA's compositions that I appreciate: they are never so desponant in the compositions not to express some hope. As the hum of underlying keys continues, keys play and float along the stream of ambient air. Tempus Horizon connects to what is prior by beginning with ambient keys, light high-hat, and glittering guitar. The tension built by the softer tune prepares the listener for the coming storm as the band builds and prepares for more explosive moments. The volume eventually erupts as the pace remains steady and still. A slow tempo song, GIAA does not rush and is carefully patient in their compositions. It's as if they are trying to move the listener along at a pace that is emotively humane. As the song continues, the louder moments come less sporadically and begin to escalate in volume. This leads into the ominous beginnings of Lateral Noise. Deep and dark with a creepy vibe, this one starts out with rumbles galore. Then, as the track progresses, light sounding, sparkling keys come in and are drowned out again by fuzz and rumbles. This ominous track sets up the listener for the final track on the disc and makes for a dramatic, episodic introduction to the end. Walls of fuzzy guitar lift into the speakers, explode and dissapear as Beyond the Dying Light soars with spacey guitars and a slow but steady entrance. The track is bright and full of hope as the keys glimmer with guitar, bass, and drums moving at a medium tempo. Guitars build a wall and GIAA's signature sound blasts through the speakers like rays of hope. This track is a perfect finish to an emotive journal through musical perfection.
If it's not obvious, I highly recommend GIAA's new disc. Far From Refuge is anything but a cliche post-rock album. Rather, it is a masterpiece that finds the band's sound maturing. The compositions are intricate yet careful and the album as a whole is fluid and the tracks perfectly selected and ordered. Go buy it now and, if you haven't yet, the rest of their catalog as well."
My favourite post rock album!
Y. Avraham | Riverdale, NY USA | 10/18/2008
(5 out of 5 stars)
"Really amazing.
These guys are so much better then explosions in the sky or mogwai. Shame they don't get the recognition of those bands.
I usually find post-rock albums to be a bit pretentious, but not this one. Just an amazing cd with real fresh sounds."
Track Listings (9) - Disc #1