Review Summary: Dynamic Duo.
It’s one thing to write about a band that is widely known and popular or at least has some coverage and exposure already, if only within a certain sad and broken web-site. But what about a lesser known or, let’s face it, a completely unknown band? Why should you bother to listen to Pil&Bue? What’s so special about them?
Well, let me articulate my sales pitch like this: this particular album is a master class in achieving maximum results with minimum tools. I mean, it’s easy to be (or at least appear) interesting when your band has a flute player, a turntablist, an accordionist, a juggler, and a striper. But Pil&Bue (“bow and arrow”) is just one guy who handles all the guitars and sings and another guy who is in charge of the drums and percussion. If I’m not mistaken there’s also a Moog synthesizer used in “Afterlife,” the wonderful and ethereal closer to the album. That’s it.
And yet, these two guys manage to sound big. Of course, in this day and age even one musician can sound like an orchestra in the studio, but it’s still no mean feat. Just having all the right equipment is not enough, you still need the skills and the songwriting chops. Anyway, the fact is that vocalist/guitarist Petter Carlsen and drummer Aleksander Kostopoulos truly manage to sound like a full-blown band on Pil&Bue albums. The guitars are roaring to life, delivering thunderous riffs and distorted post-rock passages from the first seconds of the album. I’m not ready to say that the guys are fully crossing the elusive boundary between rock and metal, but they are deliberately keeping close to that edge, so that the album could sound like thunder in the mountains in its heaviest moments.
Pil&Bue also manage to sound original, again, without resorting to any obvious tricks. They do play with the songs’ structure and layout, but they don’t consider it beneath them to write a more traditional rock song with some verses and a chorus, which still sounds fresh and exciting. One of the secrets here is that, while the riffs sound familiar, I can’t really pinpoint an obvious influence. I mean, I’ve digested my share of riffs ever since I’ve heard “Smoke on the Water” at the tender age of 10 and started my lifelong exploration of rock music. And yet, in this case, I can’t even provide you with a clear reference point, which is frustrating and fascinating at the same time. What I know is these riffs are rumbling and bombastic, and omnipresent throughout the album.
Then, there are the vocals. Petter Carlsen could have easily fronted an indie pop band with a chance for mainstream appeal if he wanted to. His voice is clear and strong, and he knows how to be suitably dramatic without overdoing it. Mostly he stays within his mid-range but also goes for soft falsetto in the calmer moments. Carlsen’s pop sensibilities are equally important as they help the band to keep things varied and know when to take a foot off the gas pedal. Again, same as the guitarwork, the vocals do remind me of someone, but I can’t name an obvious influence.
And, of course, the drummer has to be extremely gifted in a setup like this. Where drumming is concerned, the album starts with a fairly simple beat, but Mr. Kostopoulos moves on to more intricate rhythms soon enough. Throughout the album, the drums preserve this particular clanging sound which adds urgency and zaniness to the songs. One clear standout in that regard is “Fire,” one of the more obviously unorthodox tracks on the album. It starts off with only the drums which lay down an unusual funky rhythm and continue to guide the listener through the song with its frantic guitar outbursts, and the vocals only coming into play for the last couple of minutes.
Oh, and all that is delivered with healthy vigor and conviction, which solidifies the album’s appeal. The whole record is positively brimming with life, even in its more reserved sections. At the same time, the musicians do not overstay their welcome, limiting themselves to only six songs and just over half an hour of runtime. In short, it’s hard to think of another example of an album that sounds so enthusiastic without being annoying, not to mention being playful and unorthodox. Hopefully, I might be able to convince at least some people to finally give this band a listen.
