| |
Fake Jazz
Anthony Gerace
The whole thing starts with the understated title track, which remains my
favourite on this release. It combines subtle, tasteful drumming and some
vintage Farfisa-y organs (sounds like a Farfisa, anyway) with a really pleasing
guitar melody. If the track is anything, it's pleasing. Clocking in at just
over seven minutes, you can imagine what kind of a slow-burn it is, and
Gary Jausz's vocals make no bones about it: this is sad-core and it's great.
The second track, "Median States," follows a similar route, with
a plucked banjo in the background, and two guitars playing contrasting melodies
in the forefront. This track, like the one before it, is achingly beautiful,
and Gary sings in the same drawn out, relaxed style. What Quinimine lack
in diversity of sound they make up for in a back-porch mood and vibe that's
really perfect and relaxing.
I'd say that the biggest problem with this release is its reliance on one
typical sound utilized by the same combination of instruments. I mean, far
be it for me to say that they should change what they're doing, because
I like what they're doing so much, but when five songs are carried |
 |
out over the course of 40 minutes, it's hard not to get a little bored with
the proceedings. Nonetheless, like I said before, what this album lacks
in its diversity, it makes up for in the sound and vibe it carries through.
This is no less present on the final track, the traditional "Knoxville
Girl"—stretched out to almost nine minutes and featuring some
of the band's best playing, it really is one of the highlights of this release.
It's structured around dual male/female vocals and a simple guitar melody,
and remains incredibly simple, but it's very much affecting and powerful.
Which I guess sums up Quinimine's music pretty well: simple, yet affecting
and powerful. Which I think is a pretty good combination.
Go back... |
