Roots and Ruins
Die Right

Release Date: 2018 | Tracklist

Post-rock, by virtue of its structural stereotypes, is one of the easier musical classifications to present. Compositions can simply be loose jam-sessions, or they may drone on for more than half a track and languidly collapse into a manufactured climax. What matters the most—what arguably holds the most weight in any given genre—is whether there is a purpose felt, some sense of passion. The proverbial wheel does not necessarily need to be reinvented if the fundamentals are strong enough to carry it forward. In this regard, Roots and Ruins’ fresh release Die Right hits quite a few positive marks. From the beginning of the comfortable 20-minute runtime, it’s obvious that the Michigan collective have done what many peers fail at: crafting a post-rock record that is actually good instead of passable. All of the elements that characterize the category are displayed thoughtfully and carefully, containing a clear, concise direction. For an extra ounce of intrigue, math rock and post-metal make appearances to provide more color to the individual tracks. Roots and Ruins indeed avoid alterations concerning genre conventionalities. Yet, all things considered, the end result remains an enjoyable experience.

Above all else, Die Right is an exercise in restraint. True, the stereotypical ‘jam’ tracks are included—the noticeably heavier entry “Passage” being the best example, having fuzzy guitars supporting a central, polished riff—but the majority of the disc focuses on delicate strumming. “Unsung” and “Future Haunts (a)” prominently feature acoustic leads; the former supplies subtle ambient work in the background, while the latter remixes the opening number, now almost entirely dominated by a gentle melody from the guitar. The application of this technique accentuates the few climaxes that Roots and Ruins engage in, striking an effective contrast. Primary track “Future Haunts” lulls the listener into a false sense of security with its attractive, unassertive build up before suddenly leaping into an explosive, post-metal assault at the song’s conclusion. Although not as immediate as the aforementioned tune, “I Called Out” gracefully embarks through intricately-woven layers of math rock instrumentation. As the track slowly increases in intensity, the bass quietly flexing its muscle in the background, a heavier tone is applied on the secondary string unit to punctuate the culmination.

The issue, however, lies precisely in what Roots and Ruins do well: fundamentals. By definition, these are only the basics of the genre, albeit done a level above many other bands. Die Right does not venture to take any risks in any respect; rather, the overall sound exhibited on the EP gives the impression that breaking the mold was never the intention. Striving for perfect originality and innovation is not required, but it may ultimately result in limitations. Whether it was desired or not, the record inevitably hits a ceiling in terms of what it can accomplish. Instances of above-the-bar songwriting principally emerge when external musical influences are employed alongside the post-rock—namely “Future Haunts” or “Passage”. Perhaps the short runtime is to blame for these ideas not being thoroughly explored to the extent they could be. Regardless of hypothetical reasoning, Die Right willing steps into a typecast. General arrangements are no different from a myriad of similar groups, tonal aspects have familiar sensations, and the performances themselves feel comfortably complacent. Though the apparent lack of ambition leaves a fair amount to be desired, the final listening voyage is perfectly pleasant, simultaneously hinting at future potential. Within the grander context of the scene, there is absolutely nothing wrong with that.

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3.4 great