Savaging Spires – We Should Be Dead Together

Unstructured beauty.

savaging spires in my tire

Think about how brilliantly horrendous gramophones can make a record sound. Now think about how magnificently wonderful they can make a record sound. We Should Be Dead Together falls on the side of magnificently wonderful, and brilliantly horrendous.

The structure of We Should Be Dead Together, in relation to modern folk, emo rock, is bizarre to say the least. A disregard for any form of a recognisable structure in their songs, is weirdly alluring and inclusive. The cluster of guitar tones on each track that mangle up together, create a calming balance when met with harsh buzzes of either electronic guitars, or orchestral string sections. Even the vocal arrangements seem to follow a lack of structure amazingly. Both the female and male vocals battle out for recognition, and at the same time, conform to the unity of a pop duo, most notably on Tales of Pneumonia.

With the title track opener, nearly seven minutes of Savaging Spires ludicrous temptations is enough to feel the full force of the entire EP (Yes it’s not an LP). The dawn of a new day beckons, as We Should Be Dead Together slowly rises into the occasional beat of the drum and plucking of strings, as an aggressive toned acoustic guitar joins, with a Slow Club singing combination that’s as perfect normal as any other duo’s combined vocals, as well as sinisterly unnerving at the same time.

Entwined  guitar differentiations sink into an immersive single unit on Apostrophe Tape, with hollowed vocals, echoing in the abyss of Savaging Spires deeply tormented beauty, mirroring the harrowed beauty, of Kult Country’s Atlas Haze. Similarly on following track Drinking Moon, the vocals take centre frame as the star of this short film, with modern, historic recording techniques adding a euphoric, vintage feel to an acoustic, post punk sounding track.

We Should Be Dead Together’s key scenes, come from the eloquently beautiful, near six minute (and six minute plus) tracks, that are placed throughout this mega-EP. Sunrise’s performance in retrospect to it’s title, is the complete polar opposite. The added depression of sinking string elements, edges Sunrise into becoming the true depths of the night sky’s black, as emotionally challenging formations, create a bitter-sweet feel on this majestic track.

Just as the theme of We Should… seems to be rotating extremes, following six minute tracks, Stop the L Train and Suddenly the Bell practice the style of graceful, uplifting, twisted melodies, with soft hushed tones of either piano keys or baritone vocals.

With this in mind, it’s almost impossible to differentiate between any two tracks on the entire EP, unless it’s the title track and Drinking Moon you compare (the longest and shortest tracks respectively). Each track falls blissfully between exact duplicates and complete opposites. Enchanting folk, pop songs and deeply unsettling experimental, emo-folk. A happy medium is what you want We Should Be Dead Together, to be. Unfortunately, but also fortunately, you’ll always be pulled to one end of the spectrum, but you’ll never stay there. The alternations between positive and negative are insanely addictive and inescapable. I could continue with the alternating similes forever, but We Should Be Dead Together can do that for me.

9.3

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