Review Summary: Stunning Japanese post-rock with a green thumb
In the first few seconds of album opener 'Monotonous Purgatory', we are greeted by an ominous wind, immediately followed by a soft, simple piano melody and wind chimes. Right from the outset, Matryoshka are demonstrating what separates them from their Japanese contemporaries. While albums like
Program Music I and
Hurtbreak Wonderland are adventurous and aurally stunning, neither one comes close to the organic, natural feeling of
Laideronnette. Every element present simply makes sense together, and that's what makes this album a truly special experience, and why it shouldn't be put aside as “just another Daisuke copycat”.
The most notable and unique facet of Matryoshka's sound is Calu's vocals. While musically similar in many regards to compatriots Kashiwa Daisuke and Yasushi Yoshida, the vocals are what truly set this work apart. In a fashion similar to post-rock giants Sigur Ros, the vocals are used, not to convey lyrical content to the listener, but as another instrument in the mix, with actual lyrics being mostly indiscernible. The album is at it's strongest when the sparse whispers build and Calu's lush vocals reach their highest points alongside the loudening cello's and violins. Calu's vocal range is quite limited throughout this album, but she understands her limits and often allows the instruments to dominate the mix and crescendo on their own, ensuring that the vocals never feel tacked on or unnecessary.
Credit should go to Matryoshka producer Sen, however, because even when Calu's vocals aren't utilised,
Laideronnette contains some of the most beautiful sounding instruments I have ever heard, and can easily carry a song without a vocal contribution. When the music is stripped of it's electronics and layering and is at it's most minimal and subdued is where this is most evident, as exemplified in the closing 2 and a half minutes of 'Cut All Trees'. Starting from a gorgeous piano melody, the music slowly swells around this repeating line, becoming louder and slowly introducing cello, with each element clearly discernible in the mix, until climaxing without the addition of electronics and excessive layering. The producer deserves special mention for his ability to juxtapose these organic, natural and memorable melodies with a densely layered intensity that gives the album huge climaxes and a clear direction and purpose.
Even in it's most layered, electronic moments (album highlight 'Monotonous Purgatory' and 'Niedola' in particular),
Laideronnette feels more like a bleak snowstorm than inorganic and robotic, which is usually what accompanies a glitch aesthetic in classical and post-rock. Matryoshka aim for a very specific sound and nail it from cover to cover in this album, with very little inconsistency and truly gorgeous highlights throughout.
The only thing preventing this from receiving a higher rating is the bands contentedness to rest on a melody for slightly too long, leaving sections of the album feeling repetitive, which hurts it's replay value somewhat. However the album still contains enough memorable moments to make up for this and make it a worthwhile listen, even 30 or 40 playthroughs later. With a little more focus and time to trim the fat, Matryoshka could have made Laideronnette into a true classic, but few bands can match the indescribable beauty found within this record. It is a worthwhile experience for lovers of all sorts of music.
