With more emotional - should i say feminine ? - vocals and an apparently more gentle songwriting compared to E's music (whose second and best effort yet, Negative Work, will be one of the noise rock highlights of my year), outlined by violist Dave Curry's beautifully restrained arrangements, Thalia Zedek delivers another impressive record on Thrill Jockey, almost epic at times (The Lines), more bluesy (What I Wanted) than gritty this time but filled with the same intensity (Tower) and sense of struggle against personal and political anxieties (Fighting Season), emphasisezd by bassist Winston Braman's and drummer Jonathan Ulman's fierce rhythm section.
Still some nice blasts of abrasive guitar in there (Ladder, with Mel Lederman's dissonant piano too), some delicate piano/strings folk-rock also, to contrast with Come's former leader's edgy vocals (War Not Won), a falsely serene and truely haunting cello ballad (We Will Roll) with Jonah Sacks at the instrument, and the first track off the album, Bend Again, offers us through its bipolar ride a couple of distinguished guests and close friends, both behind the guitar, Chris Brokaw (Come) and J. Mascis (Dinosaur Jr.) for the final solo :
Still some nice blasts of abrasive guitar in there (Ladder, with Mel Lederman's dissonant piano too), some delicate piano/strings folk-rock also, to contrast with Come's former leader's edgy vocals (War Not Won), a falsely serene and truely haunting cello ballad (We Will Roll) with Jonah Sacks at the instrument, and the first track off the album, Bend Again, offers us through its bipolar ride a couple of distinguished guests and close friends, both behind the guitar, Chris Brokaw (Come) and J. Mascis (Dinosaur Jr.) for the final solo :
If you read French : my live report of E's concert in Paris last June.
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