#zerø effort

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Berry vs Magma

Berry's redesign is made by @remaking-machine

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Godspeed You! Black Emperor - Luciferian Towers

After a 7-month hiatus, I am officially reopening this blog. While I have abandoned the hip-hop only aspect, every other aspect of this blog will be exactly the same. I will still try to keep it as mostly hip-hop, but if it's a quiet week I'll instead review another genre.

The main reason for doing this is how much I've fallen in love with Brockhampton over the past few months, as a large part of why I was onto them so early was because of my Kevin Abstract review last year. I'm absolutely overjoyed that I got to take part in the hype from day one, as it has been one of my most enjoyable experiences as a music listener.

Brockhampton was the most obvious example I'll ever get, as it is the perfect example of how this blog can broaden my horizons and introduce me to newer rising artists. Another future example that I'm hoping comes to fruition is the impending G-Worthy collaboration between Jay Worthy, G Perico and hip-hop producer prodigy Cardo. While I'm not the biggest fan of Jay Worthy and G Perico, an entire record produced by Cardo sounds absolutely amazing. Had I not reviewed Jay Worthy's collaboration earlier in the year, I likely would not even be aware of G-Worthy's existence.

Anyway, I return to the world of reviews by touching on the 6th full-length release by rising buzz-band Godspeed You! Black Emperor.

While I wasted a lot of words re-introducing my blog, I think I'll make them back by being able to skip the introduction to Godspeed You! Black Emperor (to hence be referred to simply as Godspeed). Coming out of Montreal, Godspeed became to Post-Rock what Iron Maiden is to Heavy Metal, or perhaps more fittingly for this blog, what Dr Dre is to west coast hip-hop. In doing so, Godspeed became one of the few bands that are unanimously agreed upon as being essential listening, with classics such as F♯A♯∞ and Lift Yr. Skinny Fists Like Antennas to Heaven! being absolutely required listens.

I'd be lying if I said that I chose this album for any other reason apart from wanting to spend a week listening to copious amounts of Godspeed. Since I've stopped writing this blog, I've been listening to a lot of acclaimed music that I initially glossed over as I originally went through the canon in what was probably a few months. I only had a handful of full listens of Godspeed albums in my lifetime, so putting in a cavalcade of thorough listens into what is one of the most iconic bands of the past 20 years was something that I was really keen on.

Godspeed belongs in the Black Sabbath, My Bloody Valentine and Dr Dre conversation, meaning that they came along doing something so innovative that entire styles of music are now seen to be derivative of them. Building on the work of early first-wave post-rock innovators such as Talk Talk, Godspeed introduced a few elements that to this day are still seemingly trademarked by the post-rock giants.

The first of which, and perhaps simplest, is the use of spoken word recordings to enhance the atmosphere of a track. The most notable example of this is the tone-setting somber monologue at the start of Sleep, which is one of the most memorable parts of their discography.

The second of which, and perhaps the most important, is their use of drones to create an atmosphere and make their peaks more meaningful. F#A#∞ is an incredibly minimal album, which is part of its charm. Its minimal compositions make every snare, strum or pluck seem that much more important. When pre-hiatus Godspeed built to their peaks, it was the long atmospheric drones that made them feel so much more important.

The third of which, and perhaps the most famous, is what has become somewhat derivatively referred to as cresendo-core. While building slowly to an orgasmic apex was nothing new in post-rock, Godspeed took that notion to the absolute extreme through a combination of extremely minimal lows and absolutely dizzying heights. Prior to their hiatus, it seemed that this formula would have led to Godspeed releasing a parade of classics, however, I am unfortunately going over the Godspeed formula to illustrate how the band has been deviating from it post-hiatus.

I don't want to spend too much time going over their other post-hiatus albums, as they aren't incredibly relevant to this review, but I will quickly touch on everyone's reintroduction to Godspeed and their first track in a decade, the incredible Mladic.

It's not that unpopular to label Mladic as Godspeed's best song. Having been written pre-hiatus, Mladic inspires memories of the to-the-point classic Slow Riot for New Zerø Kanada. Mladic is loud, aggressive and doesn't spend too much time meandering with drones. If you were dubious of Godspeed's ability post-hiatus, then Mladic was a full-force punch to the face.

However, what followed Mladic has been three albums of half-thought-out ideas, smaller pieces and a lack of any meaningful concepts that last longer than 15-minutes. For a band once known for their ability to entrance you in these 60+ minute cohesive projects, post-hiatus Godspeed sounds like a band that has too many other commitments to put in the effort required to produce such a masterpiece.

For as good as Mladic was, Godspeed in days past would have been able to carefully craft an entire album around the 20-minute masterpiece, yet instead it sits on a half-baked album featuring tracks written decades apart.

That is what is so disappointing about current-era Godspeed. While the musicianship is still as perfect as it ever was, and a well-crafted song, such as Anthem for No State, brings back memories of their higher points, it feels like Godspeed have lost all interest in returning to the band that was as good as any at crafting a classic album. We are now in the era of Godspeed tracks, where 80-minute journeys have been condensed down to 9-minutes, leaving each peak and each valley feeling forgettable in comparison.

While it's interesting seeing Godspeed play around with some new sounds, as for example, this album plays around with some distorted space-rock-esque sounds on tracks like Bosses Hang, it's not nearly enough to make this album, or post-hiatus Godspeed, seem relevant.

While this album is a little too formulaic and perhaps too passive, I do think it's the best of their post-hiatus work, but more importantly, I think it ultimately doesn't matter. While we should be appreciative that Godspeed are still releasing music, while they remain in their mid-life state of responsibilities and lack of motivation, Godspeed are now more-or-less completely irrelevant.

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