By Matt Kerry
Contrary to the protracted style to which we are accustomed, Red Sparowes’ third album, at just over forty three minutes, is unusually short. Despite this relative brevity, Bryant Clifford Meyer’s collective, with the help of sometime Melvins collaborator, Toshi Kasai, have produced a sublimely accomplished release, peppered with moments of both force and beauty.
This is a progressive piece which undulates and turns unexpected corners. Meyer and co evoke here, moods which can change suddenly, with rollercoaster swiftness, but manage to return to established themes that mature over time, magnified by every listen.
Spring morning guitarscapes blend into those of melancholy, as these navigators of the narrow divide between major and minor tonality take you along a sonic route which often unsettles on its way to delight. Strong-arm passages are made to sing with the use of star-bright melody assisted by cathedral acoustics. The pedal steel guitar which helps set this band apart is often key to the painting of the chosen picture. The bass is as intriguing and explorative as ever, often paving the way and underpinning songs which develop around it. On occasion reminiscent of seventies progressive rock and nineties Shoegaze, this album offers a variety of sounds, in keeping with the assembled nature of the band, whilst managing to remain an entirely cogent and holistic offering.
As with so much of the band’s work, ‘The Fear Is Excruciating, But Therein Lies the Answer’ is almost certainly conceived around a notion of arcane yet profound anthropogical importance. As such, it is clearly designed to be listened to in its entirety. You certainly get a sense of symphony about it. There is genuine grandeur from the outset, but the production is clean and lacking in needleless pomp. This album intrigues so much by way of shade and tone from the outset and by the end you realise you have witnessed something truly special.
