Release Date: 23/09/2011
(Published in Beard Rock, 2011) http://www.beardrock.co.uk/writers/chris-kelso
Quick factoid - Western music is comprised of only 12 notes so these days there aren’t many places left to go…
For this reason we often let it slide when musicians retrace familiar ground. Blueneck, on the other hand, offer a unique and satisfying sonic experience. Ahh…
Following 2010’s “Fallen Host”, Blueneck have decided to ditch the glitch in favour of a warmer, full-band sound. Repetitions marks the first time in their career where the group haven’t recorded in their reclusive Somerset studio and it appears they’ve greatly benefited from this change of scenery. Producer Mat Sampson told the band to embrace all things analogue for this album, an approach which provides the fulcrum for Repetitions.
All the platitudes of post-rock have been side-stepped (for this we are eternally grateful). It doesn’t drag on and on and on…. Neither does it feel cobbled together or ostentatious. Undeniably Blueneck possess a certain sadness, but it’s a good sadness – like when you watch a total choker of a movie, the consequential boo-hoos you experience are merely a healthy expression of your artistic appreciation, your appreciation of poignancy and connectedness.
Duncan Attwood’s voice is still fraught with vulnerability but the musical canvas behind him is intricate, composed and up-lifting. Some will regard it with disdain - as a relentlessly bleak melodrama in the vein of yesteryear Elbow or Oceansize. But beyond the timbre of Attwood’s lulling voice and the sweeping orchestral inserts there is a lyrical sincerity which provides an odd levity to proceedings.
Like its name-sake Repetitions will reveal an embarrassment of riches the more you listen to it.
For this reason we often let it slide when musicians retrace familiar ground. Blueneck, on the other hand, offer a unique and satisfying sonic experience. Ahh…
Following 2010’s “Fallen Host”, Blueneck have decided to ditch the glitch in favour of a warmer, full-band sound. Repetitions marks the first time in their career where the group haven’t recorded in their reclusive Somerset studio and it appears they’ve greatly benefited from this change of scenery. Producer Mat Sampson told the band to embrace all things analogue for this album, an approach which provides the fulcrum for Repetitions.
All the platitudes of post-rock have been side-stepped (for this we are eternally grateful). It doesn’t drag on and on and on…. Neither does it feel cobbled together or ostentatious. Undeniably Blueneck possess a certain sadness, but it’s a good sadness – like when you watch a total choker of a movie, the consequential boo-hoos you experience are merely a healthy expression of your artistic appreciation, your appreciation of poignancy and connectedness.
Duncan Attwood’s voice is still fraught with vulnerability but the musical canvas behind him is intricate, composed and up-lifting. Some will regard it with disdain - as a relentlessly bleak melodrama in the vein of yesteryear Elbow or Oceansize. But beyond the timbre of Attwood’s lulling voice and the sweeping orchestral inserts there is a lyrical sincerity which provides an odd levity to proceedings.
Like its name-sake Repetitions will reveal an embarrassment of riches the more you listen to it.
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