Label: Les Disques Du Soleil Et De L'Acier
Format: CD
Country: France
Released: 2005
Genre: Rock
Style: Post Rock, Modern Classical
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The sound of this band is one of the most touching compositions I've ever heard. They are 3 musicians that made a dream come true for lot of people that was hoping for some calm music to hear in the rain with your girlfriend. This album it's somewhat furious, delicate, in it's own way. I hope you love it.
Files as usually ripped from pure FLAC to MP3 with 320kbps.
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As you might suspect from a Montreal band issuing a record with an unwieldy title, Spry From Bitter Anise Folds is the work of another addition to the extended Constellation family of wayward instrumentalists. Providing the shortest ancestral link is cellist Beckie Foon, who has played with A Silver Mt. Zion and Set Fire to Flames, with pianist Spencer Krug (Wolf Parade, Sunset Rubdown, Frog Eyes) and mandolin player Rachel Levine (Cakelk) connected by slim degrees of separation as well. And though they utilize familiar ingredients, the trio's rigorous, European folk-inflected chamber music manages to sound quite distinct from anything else in their musical genealogy, resulting in this exquisite, understated pearl of a debut.
Given the high activity rate of all three group members-- Krug in particular is having himself one hell of a busy year-- their collaboration as Fifths of Seven risks seeming an afterthought or mere side project trifle, but there is no evidence on these eight collected pieces that anyone's talents have been spread too thin. Throughout the album the three each play with an intuitive delicacy that suggests many hours together in the rehearsal suite, with Levine's mandolin providing an earthy, vaguely Mediterranean air to dynamic compositions that can recall the small-ensemble works of Erik Satie, Gabriel Fauré, or contemporary acts like Rachel's.
On many of their best tracks here, such as the opening "Rosa Centrifolia" or the stately "Echoes From a Wandered Path", the music functions without a true center, as each instrument moves continually and transparently from foreground to rear without ever breaking stride. Witness also Foon's deft, sonorous playing on "Sweet Grace For Devious", as she glides in and around her cello's upper registers, sharing melodic duties with Krug's austere piano. For his part, Krug here appears to betray a preference for detuned upright pianos, as evidenced by his solo turn on "Waiting", which sounds as though it could've been performed on some old tack in an empty VFW hall.
For "Out From Behind the Rigid Bellows", Krug swaps piano for accordion, the three musicians conjuring the mesmeric groans of a ghost ship's riggings as it sails from one exotic port of call to the next, while on the closing "Bless Our Wandering Dreamers" they combine to join into impressively robust drones, distant strains of mandolin and cello hovering about the edges like the rapidly fading memory of a dream upon waking. Of all the tracks on the album, it's this final cut that most audibly contains evidence of improvisation, suggesting bold new possibilities for future Fifths of Seven projects, as hopefully the three musicians find time to become even further comfortable in each other's creative company.
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