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Autumn's Grey Solace
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Dramatic, emotional, melancholic, epic, dynamic shoegazer / post-rock in the spirit of Sigur Ros, Flying Saucer Attack, Mira, Mogwai and Labradford.
"This project is formed by the French duo of Guillaume Pintout and Cyrille Holodiuk with Haluka Chimoto providing cello and Damien Ossart on bass. This debut album is a great introduction for this band, providing us with their mostly instrumental take on slow, post-rock and guitar-laced shoegazer sound. The album ebbs and flows across a spellbinding selection of ten tracks that will make the listener swoon with delight." - Gothic Paradise
Dramatic, emotional, melancholic, epic, dynamic shoegazer / post-rock in the spirit of Sigur Ros, Flying Saucer Attack, Mira, Mogwai and Labradford.
The self-titled debut album from the French duo of Guillaume Pintout (guitar) and Cyrille Holodiuk (percussion) displays in 10 mostly-instrumental tracks a dense and poetic sound of aching beauty. Guillaume & Cyrille (both well accomplished musicians from the Parisian acts KWOON and LOST IN HEAVEN) decided to mix their experiences and influences (Slint, This will destroy you, Hood, Flying Saucer Attack, Jessica Bailiff, Set Fire To Flames, Tarentel, Mono, Explosions in the sky) in order to create a new musical project.
The music flows like slow waves of vibrations. Layers of guitars end up a powerful symphony which brings immense depth to each song. Colors and personality of the music comes from Guillaume and Cyrille energy and common inspiration. They want to express beauty in contradiction with the ugliness of the world. To make their vision comes true, they found the missing ingredient: Haluka Chimoto, a very talented cellist who played for Philharmonic Orchestra of Strasbourg and Tours, in France as well as the Tokyo City Philharmonic.
The tone is set immediately with the album opener, “Against all odds,” a lonesome Atlantic gale-blown ode to the wind-swarming of emotion and otherworldliness. And while “A stolen life" truly encapsulates the delicately mournful, tense and dramatic mood that heightens most of the album (unlocking, as such, a panorama of desolate and elemental grandeur with its subdued male vocals and cello), it is with “The leaden sky” that the album reaches its ultimate peak. The track commences with brooding, feverish washes of guitar, then grows into a graceful cinematic soundscape that veers from chaotic to dreaming and back again.
"Where Earth Meets Sky" is a textural piece that envelops the spoken word by American poet Ashley Rugge, who expresses with sensitive words Guillaume and Cyrille thougths. “Backward”, the tenth and final track, is a slow, flowing, hypnotic treated-guitar loop charged with an impending sense of dread, a sullen, doom-laden demeanor that is strangely affecting and utterly enrapturing like a David Lynch slow-motion dream-sequence; it ends the album on a pensive, haunting note.
Every Silver Lining Has A Cloud. Atmospheric. Absorbing. Haunting. Post-Rock.
An echo of Beethoven’s “Moonlight Sonata” theme with spoken word is a deceptive opening to this deeply immersive album. By the second song, “A Stolen Life” this impressive debut shifts into backwards glockenspiels’ mournful cellos, plaintive acoustic guitar before rising in a slow boil with tremolo guitar riffs that launch into an end of the world paean of sustained guitar, cello and surging percussion.
Every Silver Lining Has a Cloud is French band centered on guitarist Guillaume Pintout and drummer Cyrille Holodiuk. On their eponymous debut, they follow in a post Explosions in the Sky modality. Mostly instrumental, they already have a mature sound. Pintout’s moody guitar melodies dripping distortion waxes and wanes revealing lighter touches including xylophone and the serene cello of Haluka Chimoto that leaven the raging electric guitar crescendos.
Ever Silver Lining favor the tremolo guitar approach of the Japanese band Mono, but have Explosions in the Sky’s sense of dynamic exposition. There is an even more symphonic sound in their arrangements. Sometimes somber, occasionally harrowing, often triumphal, Every Silver Lining is making post-dystopian soundscape that offers hope in the chaos.
For the most part this album is a somber, slow, melancholy wave of sound from ambient soundscapes to soaring guitars and a subtle mix of percussion. The tone is set right from the start with the long, slow and quietly building introduction of "Against All Odds" which features the sounds of waves crashing as the music slowly builds and we hear the soft poetic female spoken word caressing the building soundscapes. This quietly fades into "A Stolen Life" which again builds slowly with the sweet sounds of a music box as a foundation. This moves along slowly building to a typical shoegazer climax with soaring guitars and crashing percussion leaving the listener breathless and then dropping off into the soft sweet music box sounds again. This theme carries on again later in the album with "The Air Is On Fire". This hypnotic track features a bit more percussion to move along a bit more with the dark and somber moods. In my mind the cello really becomes a stellar key element on this piece as it slowly moves along and builds, then fades and builds again to a soaring, grinding climax that sends chills up and down my spine as I listen as it carries on for nearly nine minutes.
Nearly every piece lifts the listener up like this on waves of carressing sounds that are so mesmerizing and captivating. I'm not usually a huge fan of instrumental pieces or albums, however with this one the music creates it's own vocals, seeming to beckon the listener into a dreamy, yet at times harsh landscape of music. The album moves along through piece after piece, slowly building to a deafening crescendo only to drop off once more to an ambient hush, biding time until it slowly builds again. A few pieces remain softer and slower without the required crescendo, just settling for more of a pieceful setting, remaining haunting and beautiful such as the introductory track, or later "The Sun Is Already Gone" and finally toward the end of the album we have more poetic, soft-spoken female words on "Where Earth Meets Sea". This serves as sort of the antithesis of the previous track "The Leaden Sky" which is a driving, harsh soundscape of grinding guitars that kick off from the start and then fade only to build up to a dynamic onslaught of harshness. After "Where Earth Meets Sea" we come to the long semi-finale in "Leaves across the roads" which starts with crashing waves and slowly building guitar to the grand, torturous finale. When it all finally drops off after over eleven minutes, we're just left with the final piece, another very long selection "Backward". This piece just builds over layers of guitars that after only four minutes drops off to a ticking sound that goes on and on for another nine minutes for a truly dynamic, experimental finale to this stellar album.
That brings the album to a close along with this review. It's another great album to add to any fan's collection, be sure to check it out. Rating: 4/5
Wonderful moments followed, accompanying the event that had the French band share the stage with CECILIA EYES and for a couple of days onwards I allowed myself to remain under the aura of the 2 superb performances in Bucharest. Then, at some stage, I got reminded of this album, randomly, finding it in the pile of stuff left after the concert, so I played it while in my car. Well, I was immediately struck by what I was hearing! Romantic, melancholic, epic, ambient, dreamy, sad, melodic… superb! Along the latest CECILIA::EYES and the MONO DVD, this album has climbed to the top of my favorite Shoegaze/Post-Rock materials of 2010!
It’s all the work of a duo from France, who their friends know as Guillaume Pintout and Cyrille Holodiuk, whose past or present includes bands Kwoon and Lost In Heaven of which I know precisely zero. Guillame is credited as guitarist, Cyrille with percussion, but of course there’s more than just that involved, although not as much as I presumed. They have Damien Ossart on bass and Haluka Chimoto on cello, but what I figured was synth work turns out to be layered guitar. There’s also some spoken word wibbling by Ashley Rugge, who I can confidently reveal is an American poet. (I have my sources!)
I am for the most part an old school kind of dunce, although I don’t mean I live in a museum. A Night In The Museum 3, with me filling in for that curly haired chap, would simply involve me glaring at a computer screen looking for new things while the exhibits came to life around me. If they made too much noise I would simply shut the office door. Yes, oh psychic ones, I have spent the day considering some old Ruts bootlegs, but I have also been listening to The Ghost Effect, Atrium Animae, Shino, The Knutz and The Clash. It’s a healthy diet, and somewhere in the midst of it all an album like this makes perfect sense, can be made to feel entirely at home, and can captivate even my rusting ears. Admittedly the first time I heard it I did slip out after half an hour, as I was in need of some urgent music, only to return and find it remonstrating furiously with itself, whereupon I realised all was not what I had imagined. So if you’ll excuse me, this is where I get a bit tedious.
‘Against All Odds’ makes for a spell of quiet dignity, a voice muttering poetic things about the wind while a chiming keyboard meanders idly under a shimmering disturbance that I assume is this guitar effect? Very pretty, and the twinkling ‘A Stolen Life’ sweeps slowly, softly maudlin cello traits borne aloft and shielded by a daunting guitar overflow that will gives you Twin Peaks flashbacks, which I always find is a good thing.
There are modest frills in ‘Such A Waste’ with sunny guitar seeping along until threatened by a heavier riff supposedly ready to unleash but stuck in gear intentionally, as the song dwindles away. That trick hints of dramatic interests but in ‘The Air Is On Fire’ we find only a sleepy guitar over increasingly sturdy drums, the cello muscling in on the action and other vibrant guitar oscillating discreetly until you get to think of this as shoegaze on antidepressants. ‘Motionless’ takes this on a step further, seemingly more simple and steady while emanating with even more power before tapering off, which is almost a relief. You probably need a physicist to explain how they achieve this overwhelmingly polite intensity.
‘The Sun Is Already Gone’ sounds like a classical dirge on one level, but flushed with exquisite vigour, and a stately rigour, making it almost close to a form of Ethereal Industrial, which makes no sense, but there you go. Blunt guitar trauma is again threatened in ‘The Leaden Sky’ but it trails away into ambient tranquillity before evocative strings tease your mood into reflective patterns. This gradually gives way to a more ominous onset of guitar turbulence, bolstered by a thickening percussive presence. It just sort of stops, which is the only letdown on the album for me as I expected this one to go somewhere special.
‘Where Earth Meets Sea’ begins with quaint ruminations and develops into some lovely lukewarm artful indie instrumental musing, but not demanding, just formally thoughtful.
‘Leaves Across The Road’ is more delicate, and effective, calming your senses as it drifts by with a hint of a choir materialising out of the quivering ether, and as these implied vocal sensations build the drums are buckling up for a severe ride, the guitar closing over proceedings like giant, suffocating wings. It’s heroically demented and impressive, although I feel they again lose the poise towards the end, leaving you reeling but not completely diverted.
‘Backward’ is a total waste of a lot of time, being an ambient sub-drone encounter in slow repetitive motion, so you can ignore that one once you’ve encountered it the once and concentrate instead on the rest of an album that is a breathtaking experience at times, and always a pleasure to experience.
A strange pleasure.
L'intro, "Against All Odds", è una nenia puntellata da un pianoforte decadente che serve a introdurre le atmosfere sospese di "Every Silver Lining Has A Cloud", omonimo album di debutto di un duo francese formato da Guillame Pintout (chitarre) e Cyrille Holodiuk (batteria) - nessuna partentela con il progetto con lo stesso nome prodotto da Bill Laswell quasi vent'anni fa. Ad aiutarli sulle dieci tracce del disco ci sono solamente Haluka Chimoto al violoncello e Damien Ossart al basso.
Il suono di una bicicletta sotto una cascata di loop mandati al contrario - i primi istanti di "A Stolen Life" - cortocircuita Yann Tiersen, Múm e Sigur Rós in una ballata ultra-romantica che esplode sopra lingue di chitarra e violoncello bollenti come lava. Stessa miscela sulla più lunga ed epica "The Air Is On Fire".
Al pari degli Hammock i due Every Silver Lining Has A Cloud adattano formule e trucchi del miglior post-rock illuminato dal passaggio della meteora dei Godspeed You Black Emperor alla sensibilità dream-wave. Da questa attitudine nascono passaggi meravigliosi come l'inaspettata sospensione del crescendo straziante su "Motionless", o l'uncino melodico durante la lenta litania su "The Sun Is Already Gone". Sensibilità pop che si materializza su "Such a Waste", puro nettare di sognante shoegaze, con tanto di riff a impreziosirne il finale.
Dopo tanto romanticismo la chitarra alla Mogwai che introduce il primo minuto di "The Leaden Sky" sembra quasi un risveglio. Intensità che torna più avanti durante la lunghissima "Leaves Across The Roads". Prima del languido e interminabile finale di "Backward". -Roberto Mandolini
The band open with a simple vocal line a light glockenspiel leading into lightly distorted guitars. The guitars take the lead allowing for some simple cymbal work. All of these things play on the idea of being quiet rather than depending on a overly loud crescendo to make the song move forward. This is a rather smart move that tends to repeat quite a bit throughout the record. This makes for each loud part to feel that much louder and let the vocals (yeah they have those) to breathe within the songs.
Overall the songs feel calm and rather simple. Which is another nice touch since most bands of this style can border on ridiculous by depending more on their technical chops rather than building songwriting chops instead. The overall calm mood helps the slightest guitar crunch feel positively mammoth.
The recording is very clean and clear which is very good for this particular record. The only complaint is the general feeling that some of the secondary percussive instruments (i.e. not drums) would be turned up so as to have a stronger overall effect rather than solely be lilting pieces of the bigger picture. The vocals are the other downside in the mix as at some points they could have been turned up so as to take the lead rather than only be used as a seemingly auxiliary instrument. What the listener receives in the end is a strong record by a band building its sound and band dynamic overall. -Jon E.
It’s not that easy to define the music of the project. It sounds somewhere in between new-wave and soundtrack music. The least I can say is that this band doesn’t sound that typical at all. The compositions are rather sweet and recovered with a melancholic, wafting touch. Acoustic guitar and cello parts are merging together in a beautiful expression of melancholia. One of the most brilliant songs in the line is “The Air Is On Fire”. It’s a well-crafted piece full of melancholia and carried by a great tune. The progression of this song is remarkable and especially for the emerging guitar plays resulting in a total climax. “Motionless” coming up goes on a similar line. Both pieces are instrumental cuts, which could perfectly be used as soundtrack music. Two more noticeable instrumentals are “The Sun Is Already Gone” and “The Leaden Sky”. All these tracks are revealing a talented project with an own approach in melancholic soundtrack music. Other songs are featuring vocal parts. Vocalist Guillaume Pintout is singing a rather evasive, wafting way, but he also experiences with a more whispered style of singing. On “Where Earth Meets Sea” the vocals are more spoken-like, which perfectly fist to the global atmosphere of this song.
I can’t imagine a more appropriated label then Projekt for this type of music. This debut CD is an accomplished work featuring several highlights. (ED:7/8)ED.
Ci sono tanti cieli intorno alla Terra; dipende dalla latitudine e dalla stagionalità, dalla pressione, dalle correnti ma non c’‘è mai una parte di cielo simile ad un’‘altra.
Il cielo nella cover di “Every Silver Lining Has A Cloud” è unico, non ne troverete altri uguali, forse simili ma non uguali perché in quel momento, in quel passaggio di nuvole è stata fissata l’‘immagine da una fotocamera. La solitudine a volte è anche il privilegio di sedersi e fissare il cielo, dimenticare ogni cosa e fissare il cielo, certi cieli anzi, quelli per cui nuvole soffici dipingono a bassa quota landscape su tele azzurre e certe città hanno quest’‘immagine come manifesto urbano: un cielo dipinto che si specchia su palazzi di vetro, nuvole forate da grattacieli irriverenti e noi seduti a fissarlo, fatelo ogni tanto vi aiuta ad alzare lo sguardo, cosa sempre più rara… Perché fissando il cielo, in solitudine, si fissa Dio, la persona più sola dell’‘Universo perché qualcuno ha deciso che non deve avere nessuno accanto se non se stesso o forse noi siamo soli perché Dio ci vuole simili a lui, una tremenda empatia mistico-filosofica senza soluzione di continuità che determina una maledizione assurda.
Guillaume Pintout e Cyrille Holodiuk sanno interpretare tutto ciò con la regola basilare del post-rock sinfonico, unire dolore e piacere, malinconia e ricordi trasformando questi binomi in musica; molto sopra di loro, in un’‘isola dell’‘Atlantico, un’‘isola vulcanica, la stessa sostanza formata dal dolore trasmesso con suono, ha creato il mito, la leggenda Sigur Ròs, forse il “prodotto” più innovato ed innovativo del rock del terzo millennio.
Every Silver Lining Has A Cloud è un progetto neofita non tanto dissimile e le concezioni di Jònsi, le sue lezioni sonore, trovano in quest’‘album eponimo la dignità di un suono che segue quelle difficili orme impresse nel ghiaccio, nel cuore, nella mente.
“Against All Odds” è l’‘inizio di questo viaggio anche dentro di voi; pensando alle stelle islandesi la modalità richiama la parte finale di “Takk”, un carillon, o comunque piccoli suoni d’‘infanzia, su cui entrano chitarre prima arpeggiate affiancate dal violoncello di Hamuka Chimoto, poi distorte nella classica pioggia shoegaze ed il cielo non ha più nuvole.
Piccoli suoni d’‘infanzia, la purezza che incontra la corruzione delle chitarre, il looper determina cambi di ritmo e cavalcate e lo stesso vale per “The Air Is On Fire” o “Motionless”. Immaginate ora, per capire meglio il contesto sonoro, la base musicale di una finta quiete determinata dagli arpeggi, dal contesto strumentale a cui si aggiunge il basso meraviglioso di Damien Ossart quando improvviso come tra nuvole plumbee riesce un raggio di sole a forare la cappa temporalesca ed accecare, come acceca Dio, come acceca l’‘infanzia quando è serena con la sua irriverente felicità sfacciata, come acceca l’‘amore per qualunque cosa abbia valore.
Questo è il post-rock di “Every Silver Lining Has A Cloud” anche nelle quieti di “The Sun Is Already Gone”, gestita da un violoncello che ritrova il sapore delle corde udite grazie al Trio Amina (esattamente era Sólrún Sumarliðadóttir l’‘esecutrice N.d.A.), una tecnica nata nel ‘‘700 e resa attuale da tanti interpreti della sfera emotiva.
Poi “Leaves Across The Roads”…
L’‘immagine di foglie sulla strada di per se ha una carica emotiva allegorica, le foglie come anime al vento, in balia degli eventi, determinati dal distacco dall’‘albero (la protezione, la vita) ed ora in balia di troppe variabili per non evocare tragedie o rimescolamenti, o solamente una folata, destinale, un folletto d’‘aria che crea un piccolo vortice in cui perdersi. La track ha una carica altissima: prima lieve veloci plettrate poi la svolta shoegaze, la testa china, uno sguardo al looper e la fatalità delle plettrate diventa il destino, la chitarra è distorta ed ogni tocco si prolunga fino al… …cielo, ogni tocco di plettro sulle corde arriva al cielo ed i suoni compatti cantano la disperazione, per l’‘ennesima volta. Quale disperazione?
Quella di uomini che adulti guardano ancora una volta il cielo, ancora una volta le nuvole ma senza la magia dell’‘infanzia, senza la ricerca della forma similare: un fungo, un orso, un cavallo, quante volte da piccini, innocenti e puri, guardavamo le nuvole e sognavamo immagini…
La disperazione di uomini che guardando il cielo cercano un angelo che li tolga dalle sofferenze dell’‘essere, che dia loro risposte e l’‘angelo compare, non ha una lunga chioma, ha una chitarra ed un plettro, un pedale ed un album da suonare: “Every Silver Lining Has A Cloud”.
Certainly they've got a lot of the requisite moves associated with the Montreal troupe down pat, such as dramatic, oft-mournful builds and epic, guitar-heavy climaxes. In both groups' cases, the music alternates between episodes of delicate quietude and ferocious grandiosity, with glockenspiel sprinkles and strings gracing the former and crushing electric guitar playing leading the charge in the latter (e.g., “The Air is on Fire”). The presence of strings makes the connection even stronger, as cellist Haluka Chimoto, who's played with the Philharmonic Orchestra of Strasbourg and the Tokyo City Philharmonic, enhances the elegiac beauty of “The Sun Is Already Gone” with his emotive contributions, and the languorous slow-build of “Such A Waste” also benefits from his presence. Field recordings (children playing in “The Leaden Sky,” industrial street noises in “Leaves Across the Roads”) add to the music's cinematic character, as does the addition of American poet Ashley Rugge to two tracks. The opener “Against All Odds” finds her delivering a poetic voiceover against an elegiac backing of dusty piano and tremulous electric guitar, and she also does the same during “Where Earth Meets Sea,” with her voice heard amidst the creak of a docked boat and molten guitar shadings. “The Leaden Sky” segues between peaceful atmospheres and grungier episodes, with drums and guitar stoking a raw heat that's not unwelcome, given the degree of elegant control applied to the group's attack elsewhere, and in the grand tradition of post-rock, the album includes two long-form settings, both of which arrive at album's end. The advantage of such length is that it gives Every Silver Lining Has A Cloud a chance to let its music patiently develop and thus build more dramatically. As a result, the penultimate piece, “Leaves Across the Roads,” opens with a delicate guitar weave that eventually grows into a howling storm of hellacious intensity that would do Mono and Explosions in the Sky proud. -Ron Schepper