10 of 10 thought this review was well written
Once in a blue moon, something will come along so unique and breathtakingly beautiful that everyone should hear it at least once. This untitled album just so happens to be one of them. Everything is left blank here. The title of the album, the titles of the songs, even the lyrics are just jibberish syllables, and you
are responsible for making them whatever you want them to be. It's an open mold ready for you to pour in what you wish. The booklet is nothing but blank pages, and there's not a single printed word in the entire packaging except for the band's name on the front, and their website on the book's back page. You have nothing to go by but a lone set of parentheses, brackets, or kidney beans (whichever you decide) on the cover.
Regardless of whether you choose to partake in filling in the blanks or not, the music contained within is some of the most beautiful in recent memory. J�nsi's vocals are calm and soothing, sounding somewhat like Thom Yorke, but a little higher-pitched. He also has the habit of using a cello bow on his guitar, which results in quite the sound. Accompaniment comes in a couple forms. Keyboards are featured heavilly throughout, and in several songs, replace the drums entirely. A classical string quartet called Amona plays softly in the background, and in some cases, changes the song single-handedly. Untitled 1
starts out slow and gentle, with keyboards. Another comes in, as this is one of the percussionless tracks. It builds for a while into a beautiful monster, until the vocals come in, when it becomes a full blown goliath. The gibberish vocals fit well, and help make this album what it is. Towards the end of this song, everything turns the pitch towards the sky, as the strings wail away in the most glorious of fashions. Untitled 3
is one of the greatest pieces of music to have ever graced my ears, and without a doubt the best of the record. A delicate piano melody is played over and over, while strings and background vocals swirl around behind it. After more than half the song, it goes up an octave, in a near musical orgasm. It ends in soft piano doodling. Untitled 4
is definitely in the running for second best song, but so is nearly half of the album. Thumping percussion and singing guitar are what really drives this one. Vocals are good as usual, and help to break up the monotiny.
This record was designed to be listened to like a vinyl. This is evidenced by the 30 seconds of silence between 4 and 5. The first half, or (
, is the lighter, more optimistic side, while )
is a bit darker, and more melancholic. The first half has the happy numbers, like the incredible 1 and orgasmic 3, and the second half has the slower, more ambient songs like 5 and the climactic 7. In terms of which is better, it just depends on what kind of mood you're in. Happy people need happy music, though the depressed need something to cheer them up. If you're sad, I think 3 will be just what the doctor ordered.
When it's all said (in jibberish) and done, what we're left with is a wonderful piece of work. It's not perfect, as there's a few songs that are a bit under par compared to the others here, take 7 for example. A few are too long, and drag out a bit. There's not much diversity either, and to the newcomer, they could sound very alike at first until you come better aquainted with them. And then there are those that just won't like this at all. They may say it's too boring, or too repetative. Maybe they won't like it because it's too pretentious. But, it's their choice. Just like you can choose to make this record into whatever you want it to be. You owe it to yourself, and even those around you, to at least try this out. If you don't like it, fine, but those who do I'd expect to love it as well. This is an album to be looked back upon in the coming years. To look back upon the cold, frigid landscape this paints. The cold landscape that also happens to ooze beauty and emotion out of every pore.