Review Summary: Yes, I realize the band's name is horrendous. Bear with me, though, and you won't be sorry.
Post-rock is unique, I think, in the sense that it isn’t as bound by structures or walls, as other genres are. The arsenal of instruments that are used to create post-rock are exceedingly out-of-the-ordinary, and the vast range of feelings and aesthetics that post-rock can exude and deliver is simply unmatched, in my opinion. It’s so disheartening, then, to see this wasted potential go down the drain in most cases. Post-rock has developed from something so fresh and exciting into something relatively stale. The build-ups have become predictable and even trite. Oh,
there’s the glockenspiel. And
here’s the moment of silence. This dissatisfaction with the state of a genre (minus a few exceptions, of course) makes my enthusiasm for an exciting, new find even more fervent. And so I present to you, all the way from France,
Kwoon.
I have to admit,
When the Flowers Were Singing... isn’t particularly as innovative. New structures and exciting breakthroughs are certainly not the highlight of Kwoon’s latest. Instead, the breathtaking aspects of
When the Flowers Were Singing... derive from Kwoon’s amazing ability to emanate sheer emotional exuberance from a formula that’s been worked and kneaded this way and that time and time again. The power on
When the Flowers Were Singing... is rooted in the lush arrangement of harmonies and the impending apex of each song. Only a few listens through, though, and it becomes clear that things are different for Kwoon. We’ll get to exactly
why later.
When the Flowers Were Singing... is a very slow-moving, deliberate album. Instead of lulling you to sleep though with sedative aspects, it elicits a different type of aesthetic, one that’s hypnotic and enthralling yet calming at the same time. “Back From the Deep” is a good illustration of this, with it’s deliberate noises and ensuing echoes. It fits in very nicely after “Schizophrenic,” one of the most dynamic on the record. This track does a spectacular job at using vocals in perfect line with the instruments that creates a very cohesive and emotional experience as the volume, anticipation, and emotion builds. The ensuing track, “Labyrinth Of Wrinch,” is a more calming experience. Female vocals enter to compliment the male vocals, all the while the instrumentation, however minimal, is front and center stage. The penultimate song, “Ayron Norya,” really manages to pull the entire composition well. After the ten-minute epic,
When the Flowers Were Singing... feels more complete, more accomplished. It has everything from sweeping climaxes to more personal, sincere moments. Here you’re able to really grasp what it seems like Kwoon really does best- their attention to detail. Every song, every sound feels like a necesary piece of the puzzle; and most importantly, when put together it all works.
I’m not claiming that
When the Flowers Were Singing... is the savior of what appears to be a genre on the downslope, but that would be asking far too much. Instead, Kwoon have created a superb blend of aspects common to the genre, added their own stylings, and manage to create a listening experience both surprising and enjoyable. A suitable comparison lies at the end of
When the Flowers Were Singing..., when it ends on a bizarre note. “Untitled” is, most simply, the sounds of boots trudging through snow and the whisp of a harsh wind. How fitting.
When the Flowers Were Singing... is a bit aimless and even bizarre at times, and it moves slowly and deliberately, but it manages to instill a sense of mystique and emotion in the listener, and I don’t know about you but I’m very satisfied.
