Perhaps it was years of listening to classical music in my youth, following it note for note on the score, that I enjoy both the subtle and vast differences between instrumental rock bands. Yes of course there are similarities in post-rock, just as there are in indie pop, visual kei, medieval folk rock or cowpunk. In many ways it’s simply a personal response whether music sounding like, or reminding one of, other music, means it’s inferior or bad in itself, regardless of its stand-alone properties and qualities.
So with that in mind, this debut record from Shy, Low reminds me at various points a whole lot of This Will Destroy You’s S/T and “Young Mountain”, sleepmakeswaves, End of the Ocean, Meniscus and Mogwai, as much as I hate to make that last comparison. I use it specifically, not as a generalisation of the sound, and not to cheapen it. This is lights off, volume up crescendocore up there with the best of them.
The reality is that many folk may give a record like this a listen and then dismiss it as unoriginal and therefore not worthy of another listen. For those happy to indulge, you will be rewarded with a vast array of emotions. Just don’t expect too much experimentalism in sound and rhythm.
Most songs are in that five to ten minute bracket that you expect with this style, all sufficiently varied to recognise their individual personality. A case in point is final track “Farewell: A New Beginning”, which swings from the lightness of glock to dark swirling tremolo, chugging riffs and thudding bass over plenty of work on the drums.
The opening track “Confirmation Bias” starts with marching snare and the layers of sound build until joined by spoken word – a sample (and not a re-reading I presume) of Alec Baldwin as Jed from the 1993 film “Malice”. It’s one of those powerful, memorable quotes that leads to an appropriate climax of guitar, drums, bass and synth that makes you punch the air.
Much post-rock is built on repetition with little in the way of melody, but Shy, Low follows the approach of long melodic passages that still avoid falling into an instrumental verse and chorus structure. There is still good use of repetition in building a feeling, generally of some darkness or sadness, before the crescendo drags you from the depths to moments of triumph. This band must be great live.
It’s not as inventive as bands like ASIWYFA or groundbreaking in what it does. This is, however, the sort of record I can enjoy in most situations, and the more I listen to it, the further it will sound from the comparisons I made earlier. It’s well written, played and produced and should make the collection of any post-rock fan.
Released January 20 2012 on Fluttery Records
Posted by Gilbert Potts
