We Were Exploding Anyway We Were Exploding Anyway

Álbumes

65daysofstatic 65daysofstaticWe Were Exploding Anyway

7.4 / 10

65daysofstatic  We Were Exploding Anyway HASSLE RECORDS

65daysofstatic has always had a special interest in finding a different angle within the margins of the instrumental post-rock scene. Its differential factor, since debut record “The Fall Of Math” (2004), has always been the conscious, deliberate, free use it has made of electronic supports within the context of its practise, as if they were another instrument, an indivisible, inseparable part of their musical discourse. Their particular approach based, on solid rock and often very close to emotional post-hardcore, with the aid of polyhedral beats, twisted sound and digital machinery as an expressive catalyst for its structure, has given them greater personality within the range of a core of bands that are characterised precisely by prolonging an identical formula (of blazing guitars + spiralling drums + low basses) without much shine just a little bit further. And in the same manner that the British group has never especially shined, having lacked that album that would take them to the top and earn the recognition that other less original combos have received - and you can imagine whatever names you want to there. In their favour are a marked personality and very identifiable sound, which manage to take a qualitative step forward in their career with this new album.

The fundamental idea hidden behind “We Were Exploding Anyway” is that of burning everything. Dying of intensity. Two basic pillars of this new album: on one hand, the production, notably more serious, precise, and powerful than in their previous recordings, brings about a substantial improvement in their formal approach. On the other hand, a conscious search for more tense, aggressive, and explosive songs. It didn’t come about by chance: this material is closer to the limit because the group needed (in my personal opinion) to try out its expressive mechanics in a more radical situation. And it works. So much so that at certain points, especially in the final song, “Tiger Girl”, you really think that 65daysofstatic have been listening shamelessly, fascinated and completely sucked in, to the latest Fuck Buttons, because that is exactly what the song sounds like. It sounds like a reject from Tarot Sport.” Is it coincidence that it is the best composition of the lot? The general feeling is that this band from Sheffield has tightened their screws and dared to take even better advantage of the relationship between instruments and electronics in its aesthetic and stylistic stamp.

In this sense, one can best see their maturation and artistic growth in the manner of integrating beats, sounds, and electronic structures. In the past, we got the feeling that their point of departure was instrumental, and that in the studio they touched up, added, and dealt with nuances with electronic tools. Nothing to object to there—it was, as I said before, a differential element that reinforced their personality. Here, on the other hand, it seems that the band is thinking more electronically, that they include those mechanisms in their starting point, that they know how to give them a totally starring role from the very beginning. Its another step forward. “Tiger Girl” is the clearest example of this, but not the only one: “Crash Tactics,” “Dance Dance Dance,” or “Weak04” are three particularly hard, tense episodes, moving from the very beginning in danceable territory, and it’s the guitars and basses that intervene as a melodic supplement, not the other way around. This is the key to the whole album and brings about the creation of a more dynamic, frenetic, vigorous sound, almost like the unconscious soundtrack of a videogame or a Hollywood action film. They only take a breath and give themselves a break in “Come To Me”, with the vocal collaboration of Robert Smith, who besides being a fan of the band, also took them on tour with him and the rest of The Cure. Although you can see the respect they have for Smith, you might say that this is the most “The Cure” song that they have ever recorded. The presence of the voice is a small anomaly that doesn’t change the group’s plans but which reach the end covered in sweat and passing on this total energy to the listener. Tim Ryback

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