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Do Make Say Think rating : I don't like marks but Barbara "the boss" H compels me to: 8 |
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And
Yet And Yet,
Do Make Say Think third full-lenght album bears the same influences of the two
previous ones. Post-rock with hypnotic qualities; beautiful guitar melodies,
impressive bass lines and jazzy rhythmics with brass and/or electronic sounds
underneath.
The cd was
released in March and it's already late june but I'm writing this review to
accompany the interview that we had with them before their gig in Bordeaux in
May. This gig was really great but it did not give the same impression that
their albums give. In fact, when you play the cd, guitars are mixed to the
front and the brass are rather in the background (as arrangements) while live
performances tend to bring most of the time brass into relief and leave
guitars in the background.
I've
been a great fan of Goodbye My Enemy Airship The Landlord Is Dead and I
feel that its successor is not as good as theband's second album. If the
sleeve is definitely not as good-looking as the ones of its predecessors, most
of the songs are quite good though. "Classic Noodlanding"
brilliantly opens the album. It is a jazzy post-rock song (with gentle
electronic and brass arrangements) that interweaves nice guitar melodies. At
first, "White Light of" makes you think of Goodbye... to a
certain extent because the brass and keyboards gradually take over the guitar
and bass. "Chinatown" is a quiet song which makes you think of Set
Fire To Flames. It is a sort of intermission with voices talking in the
background.
"Reitschule"'s
intricate melodies and impressive bass riff is totally reminiscent of Goodbye...
It really represents DMST particular style: the tension accumulates and the
sonic storm stops suddenly, then the bass riff softly starts again and the
other instruments come one by one to finally alternate quiet, delicate
passages with tense ones. On "Soul and Onward", a girl was invited
to sing, which gives a strange, colourful but pleasant opera dimension to this
song because there are no lyrics. The voice melody is later taken up by the
brass, which can make one think of a classical music pattern. The last track,
"Anything for now", is a long space-rock song which quickly becomes
boring.
"The End of
Music", the second song, is my favourite one. A Godspeed-esque track,
jazzier and less melancholy though. The tension of the melody is gradually
built up by layers of overdriven guitars but sweet keyboards sounds prevent it
from being a mere violent act. When you think that it is going to end up in
cathartic noise, it softly calms down and eventually ends up with restful and
soothing drones. If this is the end of music, maybe we should kill it before
the next Placebo album is released.
-SEB WOOd