Silence Kit, as a post-rock/experimental/math prog band, has a both very casual and charmingly
original, very deep and occasionally shallow, highly common and dirtily exceptional place in the
figures of the genre, something proved by each of their (currently) three albums (it couldnt even
go down to two of them, preferably this one and their most recent, in 2007). Though they hardly put the music of others into their own wall of art, much
of the influences that are obvious, in one way or another, also make the group enjoyable for a
couple of well-defined tastes; in general, Silence Kit could struggle a bit more (successfully) to
get in the front rows of this big (and amazingly unlikely to stop growing) musical world. Struggling
with powerful ideas, impressive arrangements and a heavy gravity of style is this Pieonear,
released two tears after the debut with mature tendencies and, less, peculiar imagination and
resources. Overall its a good album, although its weak points refuse to not partake in the act,
jumping and surprising sometimes right when the music has a pleasant feeling. Pieonear could
still be the greatest album for some Silence Kit fans, since The Great Red Spot isnt miles
apart (still superior, in my opinion), plus the two albums attack a different essence, able to serve
as the utmost value for different people.
The style put in the music brings some individual characters into the five minds from Silence Kit,
showing them instead only as prog indies at least for now. Most decisively, the work of
Pieonear is elaborate, dizzy and stirring, a big leap of maximalism being profoundly used (as
style, concept and vision) into an album thats filled, relatively, with minimalism and soberness.
In terms of soft/ambient post-rock, numb alternative and math stone rock, Pieonear is a very
accurate at times excessive or, on the contrary, slippery job by Silence Kit, pulling the right
stuff into something that could easily be considered a hard play, hugely scaled. But, with their
second and at the moment middle album of their career, Silence Kit also are at an intermediary point
towards becoming the so-called nu fusionists, math-magicians or (in)genuine indie artists. Between
the heavy music and the laborious style, the latter has the minus on quality and impressiveness.
Barely having in mind a variety of themes (a reason why lemonsmellstreet is double the concept it
should properly be), Pieonear has instead a deadlock on epics and heavy sound weights, the
comfort of long shots in which the sound and the music evolve, linger, break, urge, get tense or
lose themselves being of no surprise at all. The first piece has a meticulous, post-rock-ian
overdose of contrasts, neither the math dark crashes, the easy but slumber dynamics or the bit
frugal ecstasy of ambiances and dead echoes being the main attraction. Theres a first sign of doing
music a la Godspeed, yet Psychoparasite, a 38 minutes unastounding monster, is the
real one that relies on Godspeeds (and other giants) mature gaze into the post-rock art of making
long, dark, frightening stories about a static, parasite, absent or pitch acoustic world, emotion or
idea. The schematics here are more obvious, hard-/grunge-core stuff is the first climax of a
complicated music, after which everything burns down to an ash of mechanical and experimental
sound-music, rejoicing then to yet another round of punctuated atmospheres and arched indie/hard
melodies. Lemon Smell Street, as a final 18 minutes shot of stone tequila and mellow
hallucinations, is not a re-enactment of the first track, still picks the switch from ambient
post-rock to metal-math dark rock, sometimes brusquely passionate. This is the best, most powerful
and booming piece from the album, not because the main epic from Pieonear is not something to
be crazy about, but because this final seal of heavy rhythmic, complex senses and on-the-order
post-rock musical splints is convincingly composed and thumbed.
Silence Kits second album is, mainly, good.
original, very deep and occasionally shallow, highly common and dirtily exceptional place in the
figures of the genre, something proved by each of their (currently) three albums (it couldnt even
go down to two of them, preferably this one and their most recent, in 2007). Though they hardly put the music of others into their own wall of art, much
of the influences that are obvious, in one way or another, also make the group enjoyable for a
couple of well-defined tastes; in general, Silence Kit could struggle a bit more (successfully) to
get in the front rows of this big (and amazingly unlikely to stop growing) musical world. Struggling
with powerful ideas, impressive arrangements and a heavy gravity of style is this Pieonear,
released two tears after the debut with mature tendencies and, less, peculiar imagination and
resources. Overall its a good album, although its weak points refuse to not partake in the act,
jumping and surprising sometimes right when the music has a pleasant feeling. Pieonear could
still be the greatest album for some Silence Kit fans, since The Great Red Spot isnt miles
apart (still superior, in my opinion), plus the two albums attack a different essence, able to serve
as the utmost value for different people.
The style put in the music brings some individual characters into the five minds from Silence Kit,
showing them instead only as prog indies at least for now. Most decisively, the work of
Pieonear is elaborate, dizzy and stirring, a big leap of maximalism being profoundly used (as
style, concept and vision) into an album thats filled, relatively, with minimalism and soberness.
In terms of soft/ambient post-rock, numb alternative and math stone rock, Pieonear is a very
accurate at times excessive or, on the contrary, slippery job by Silence Kit, pulling the right
stuff into something that could easily be considered a hard play, hugely scaled. But, with their
second and at the moment middle album of their career, Silence Kit also are at an intermediary point
towards becoming the so-called nu fusionists, math-magicians or (in)genuine indie artists. Between
the heavy music and the laborious style, the latter has the minus on quality and impressiveness.
Barely having in mind a variety of themes (a reason why lemonsmellstreet is double the concept it
should properly be), Pieonear has instead a deadlock on epics and heavy sound weights, the
comfort of long shots in which the sound and the music evolve, linger, break, urge, get tense or
lose themselves being of no surprise at all. The first piece has a meticulous, post-rock-ian
overdose of contrasts, neither the math dark crashes, the easy but slumber dynamics or the bit
frugal ecstasy of ambiances and dead echoes being the main attraction. Theres a first sign of doing
music a la Godspeed, yet Psychoparasite, a 38 minutes unastounding monster, is the
real one that relies on Godspeeds (and other giants) mature gaze into the post-rock art of making
long, dark, frightening stories about a static, parasite, absent or pitch acoustic world, emotion or
idea. The schematics here are more obvious, hard-/grunge-core stuff is the first climax of a
complicated music, after which everything burns down to an ash of mechanical and experimental
sound-music, rejoicing then to yet another round of punctuated atmospheres and arched indie/hard
melodies. Lemon Smell Street, as a final 18 minutes shot of stone tequila and mellow
hallucinations, is not a re-enactment of the first track, still picks the switch from ambient
post-rock to metal-math dark rock, sometimes brusquely passionate. This is the best, most powerful
and booming piece from the album, not because the main epic from Pieonear is not something to
be crazy about, but because this final seal of heavy rhythmic, complex senses and on-the-order
post-rock musical splints is convincingly composed and thumbed.
Silence Kits second album is, mainly, good.
