Review Summary: Godspeed fans may have missed a gem from 2010.
"We are from Brooklyn. We are six. Jake, Gillian, Hunter, Jeremy, Ian and Jesse. You would like us if you met us."
For a band that isn't exactly a household name, it might be appropriate to suggest that such a site bio is oddly brief. Come to think of it, "odd" is probably the perfect word to describe (The) Slowest Runner (In All The World) - just look at the band name for an example. Just from glancing at their website, I was able to deduce that they prefer to avoid the limelight. We've seen this with bands before (
Godspeed You! Black Emperor being perhaps the most noteworthy to take this approach), and I feel that it adds an extra level of mystique to the music itself. And just as this band takes after Godspeed's lack of publicity, so too do they attempt to bring their listeners a similar kind of experience with their music.
The atmosphere on this album is enveloping. Right from the hopeful opening piano melody of Zoe Machete Control, Slowest Runner want you to pay attention. Slow drum fills march over mournful string patterns, while lonely guitar riffs wander intricately around the ambiance. The sudden stops, changes in tempo and diverse mood arrangements are all reminiscent of Godspeed's ability to tug on the heartstrings of the listening party. One thing that this band uses to their advantage are what they refer to as "howls", or anguished moans used to juxtapose similar string patters to create harmonies. A quick ambient fill called [Oscillation] ii breaks the first and third songs apart.
A weary string section begins at the start of the title track. While listening to this part of the album, I envisioned a war veteran visiting the graves of his former friends in a cemetery. The visions that this album can produce are amazing, and due to the lack of constant vocals the listener is able to paint vivid pictures in their mind. Slowly, the pace begins to pick up and a military-style drum riff litters the scenery quite nicely. Another gorgeous piano line and chorused vocals lead into the first screams heard on the album. I find the screams to be a bit jarring given the tension that has been building, but perhaps that is what Slowest Runner were going for. A climactic ending is brought on by heavy string use and faster, more frantic drumming. This is my favorite track on the album.
The next song, Aembers/Guggenheim, is the first song to really showcase the howls that the band mentions in their member bios. A crawling guitar riff brings about images of slowly leaving the cemetery, and the accompanying howls produce a very eerie effect, like people ahead are sobbing softly as they walk. It's really a magnificent use of the technique. Towards the end of the song, some interesting effects and instruments (such as a glockenspiel) are used amongst an ominous string-laden finale. Marsupial Patterns starts with what sounds like someone tuning a radio. Suddenly, an 80's style synthesizer can be heard alongside a moody, meandering guitar piece. There are many breaks in this song; some contain static and faint radio signals, while others are filled with wandering strings and suspenseful bass lines. An anxious buildup grabs the listener's attention and refuses to let go until the apex, which is a uplifting melody split between guitar and piano around an agitated drum fill. Despite the exceptional length, this song does a remarkable job at keeping the listener entrapped until the very end. [Oscillations] ii is basically a continuation of the first ambient track, except longer and with a greater range of effects used to calm the mood before the finale.
The last track, She Died In A Fit Of Apoplexy, thrusts the listener into a rally for a vengeful dictator. Warbled and unintelligible shrieks are sampled from a past speech. As the song progresses, twinkling piano fills and upbeat drumming gives the impression of a crowd marching after the procession has ended. the use of strings in this song is excellent and really adds extra emotions of uncertainty and suspense. The guitar comes alive towards the second half of the song, and some terrific leads are thrown into the mix to change things up. Suddenly, it all stops except for a single guitar riff. Anguished strings join the fray, followed by drums that begin to increase in tempo. Just when it seems like a crushing ending is in store, a drawn out howl is all that can be heard. Immediately after, everything crashes back to life. The most frenzied guitar playing on the album takes place amidst a series of shrieks. When the album fades to a close, the world seems to come back into focus again.
This is not a genre-defining album, or anything of that vein. It is also not a direct copy of one of the most influential bands of all time. (The) Slowest Runner (In All The World) have taken something old and tired, made some unique and tasteful changes to the recipe, and have come out with one of the best debut LP records I have had the pleasure of hearing. I have no idea what is in store for this band, but any fans of Godspeed should be checking this out as soon as possible. In the midst of a sea of wannabes, Slowest Runner have churned out something worth hearing.
