Review Summary: Black Midi, Black Midi, Black Midi.
Black Midi, Black Midi, Black Midi. I can honestly pin-point to memory the first time I heard about this new band that wasn’t to be missed, how their then recent single ‘Talking Heads’ really made me think they were just a slightly eccentric new math-rock band. Even earlier was their heavily suggested 2018 KEXP performance, an amateurish but energetic performance of untitled tracks that would make up half the formation of their debut.
When Schlagenhiem was released, I wrote it off immediately after opener 953 read like the groundwork for another wankery, macho-posturing rock band that somehow resembled that of Led Zeppelin. Turns out I may well have unintentionally listened to Greta Van Fleet because when I truly did revisit Schlagenheim and made my way to their infamous track ‘bmbmbm,’ their no wave “hit” in which many fans and music listeners were won over by, I too was won over by Black Midi.
But not long after that, I too also thought Black Midi could be the best band of late - certainly my favourite currently. Not only is Black Midi’s sound so unique and eccentric, the band themselves are an undeniable formation of talent. As a drummer, I’ve not been so enamoured in years by a modern drummer like Morgan Simpson who not only has the groove of a gospel virtuoso, but also has developed signature drum-fills in such a short amount of time that sound like the warping of time all within a measure of a bar before landing effortlessly back on time for the next. Similarly, Cameron Picton’s talent for sprawling but central bass lines are really what gives Morgan Simpson such liberty on the kit and the ability to expand from just holding down the fort.
Then there’s front man Geordie Greep and his unique, indiscernible accented crooning inflection who also so obviously has grown up with the blues, so much of it pouring through his guitar licks and riffs but when put in the scheme of Black Midi - results in one of the oddest and most unlikely concoction of styles and what ultimately makes Schlagenhiem such a difficult record to pinpoint in regards to its many reference points.
However, Schlagenheim was a relatively straightforward listen in the grand scheme of things. There’s a reason ‘bmbmbm’ is a bit of a go-to track for Black Midi fans, mainly for the fact it’s the most direct and explosive song. But Cavalcade has one huge difference - the absence of Matt Kwasniewski-Kelvin.
Matt’s influence on the band was noise, and it’s not hard to know what I mean once you’ve seen one of many performances of tracks such as ‘bmbmbm.’ Take for example their televised Mercury Prize performance where he rammed his head into a piano off stage and rumouredly injured his coxxic on a failed front flip all the while his guitar was blaring noise and feedback on its own. His influences were that of Japanese noise bands and he often provided the fiery electricity that made up Schlagehiem’s most intense moments.
So what happens in his absence is perhaps not too surprisingly more subdued, at least when compared to their debut. Truth be told though, Cavalcade is just as off the wall - only in a resultedly different manner. Opener John L for example features a demented squelching string arrangment to accompany this horror show of a track. It’s so fitting it’s lyrics are alike to a cult leaders’ rant. I especially love the climax of the first chorus where this piano comes in to drip a load of dissonant keys like ***ing sprinkles ontop of this already absolute bloodbath.
Following track Marlene Dietrich though almost awkwardly juxtaposes John L by providing a genuinely beautiful, serene composition and arrangement that honest to god calls back to the more gorgeous musical moments of Pet Sounds, a track like ‘Let’s Go Away For A While’ that made up the heights of Bryan Wilson’s composing career. Chondromalacia Patella harkins back to the turn-on-a-dime song structures that made Schlagenhiem’s tighter tracks, although there’s such lush arrangements to be found in it’s more settled moments that it’s more bewildering than it is visceral. In replacement of blasting noise that otherwise filled the cracks of Schlagenhiem’s peaks are instead saxophones that squeal often on the crescendos of this record, almost the centrepiece of tracks such as Slow which is such an unassuming track that just gets under my skin. I love the groove, its movements and the overall pace of the track. It’s like a perfectly comprised jazz odyssey all in an endlessly repeatable 6 minutes and under.
Diamond Stuff borders ambient with its patiently plucked strings for the first three and a half minutes before Morgan takes the reins and transforms the piece into a softly exploding swung crescendo that’s almost religious in tone. Preceding track Dethroned is perhaps the most straight-forward song of Cavalcade’s entire run, certainly the most stripped down in terms of instrumentation. In some sense I miss what the horns and saxophones did for this track on the live version performed on their most recent KEXP performance, that and the sometimes over-bearing reverberance in the mix leaves this track just short of breaking its glass ceiling.
Hogwash and Balderdash on the other hand sounds like a rock rager performed from another age like the 13th century in some rowdy medieval tavern. Short, brief and suddenly ended in a glitch of sound - leaving on Ascending Forth which I honestly can’t make heads or tales of.
Not that this 9:53 track (..I see what you’ve done there Black Midi..) is confusing or impossible to untangle. Rather, it’s a lovely song made up of arpeggiated chords and soft orchestral swells. My quelm with it however is that while the song cycles through what are essentially two different musical motifs, I find it somewhat underwhelming. Instrumentally, I love this track - it's graceful in all its presentation, but I’m not particularly enamoured by Geordie Greep’s repeated lyrics ‘everybody loves ascending fourths.’ One could argue and would argue he doesn’t move with a purpose. Maybe, just ultimately I wish there was more out of the vocals in those repeated passages in particular.
But hey, at the end of the day - I’m pretty impressed personally with this album. It’s certainly not the album to solidify those who want Black Midi so badly to become something of mythic proportion. Rather, I think Cavalcade is the sound of a band who’s doing it for no one but themselves. It’s self-indulgent, it’s much more cerebral than its predecessor and really another side of Black Midi. That said, I personally can’t help but be bewildered by Cavalcade. While the rough and rugged incongruences of Schlagenhiem could be chalked up to the fact it was a debut, Cavalcade reveals that Black Midi don’t work in a vacuum. The record oozes genuinity and really only leaves more questions than answers as to what Black Midi ultimately are capable of. Not that Cavalcade is a re-invention for Black Midi, but rather a kind of metamorphosis - a snapshot of transition. And as much as the term ‘transition record’ may leave some to dial out and bet on the next, I do find Cavalcade fascinating and enamoring more than I find it life changing. That is perhaps my only disappointment with Cavalcade
