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Gomez
Since their debut a few years ago, Gomez have continually stretched themselves to make music that is both challenging and effective. These guys certainly know their way around a recording studio, using it as a means of filtering and expanding their ideas beyond what might be considered ‘conventional’. While they lack the ‘star quality’ that causes others to be labeled visionaries, In Our Gun leaves little doubt that they are remarkably creative. For me, it took more than one listen to recognize the depth of this album’s appeal, but the best stuff usually does require extra attention.
In Our Gun sounds like a marriage between Magic Slim and Radiohead. It’s as if the blues played a game of ‘Telephone’ with the 21st century, and it got morphed into something strange and new. The album features stunning combinations of harmonies, treated guitar, warped brass, electronica, percussion, and God knows what else, all mixed to serve the band’s purpose, and all of it crystal clear and fluid – except when it’s deliberately distorted. The album is extremely moody in tone, alternately reflective and boisterous. At times, it sounds as if an aural battle is taking place between analog and digital, ending in a bloody draw. Somehow, the melody always survives.
Unfortunately, the booklet doesn’t contain lyrics, but the words are audible and intriguing throughout. "Shot Shot" is all honking octaves and raw nerves. "Detroit Swing 66" is a funky, syncopated breakdown with as many layers as a Vidalia onion. "In Our Gun" is a slow burn, feigning patience until it explodes in your face, while "Even Song" contains an ingenious balance of acoustic and electronic invention. "Miles End" is almost conventional in structure when compared to the balance of the album, so it also one of the easiest tracks to appreciate. In Our Gun is a dense, clever album that might put you off at first, but pay attention, give it a chance, and you’ll find yourself immersed in these tracks. Personally, I can’t seem to get it out of my disk changer.
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