black midi dole out neck-snapping left turns on their new album, Cavalcade – review

black midi dole out neck-snapping left turns on their new album, Cavalcade – review
The British group continue in their tradition of no-holds-barred musical exploration

On first listen, Cavalcade sounds like a mixtape of multiple bands. But those familiar with black midi will know dissonance is just part and parcel of their music. O Brit School-educated group’s second album is as amorphous and elastic as you’d expect from a front-runner in the wave of post-whatever experimental British bands to have emerged over the last few years.

Since the release of their Mercury-nominated debut album Schlagenheim dentro 2019, black midi have made experimentation their calling card. Sem dúvida Cavalcade is an extension of that. A lot of the time, the record is a disorienting maelstrom of noise – squawking violins, assaulting vocals, soulful basslines, deranged guitar riffs. Other times it screeches to a halt, teasing out tension with a scolding silence you’re not sure when will end. Em outro lugar, as on “Diamond Stuff”, the racket gives reprieve to softer, more palatable acoustics. black midi relish in doling out neck-snapping transitions (like the one between the volatile “John L” and the shockingly strait-laced ballad “Marlene Dietrich”) across the album’s 40 minutos.

As is customary for experimental bands of their kind, sobre Cavalcade, black midi feast on a smorgasbord of influences but the result at times can leave their sound meandering aimlessly.

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