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To Kill A Petty Bourgeoisie, "Marlone"

cover image In 2007, To Kill A Petty Bourgeoisie began their first album on Kranky with a shriek of piercing noise. The album that followed was layered with dirty rhythms and walls of sound that were as dense and deformed as they were pretty. On Marlone, Mark McGee and Jehna Wilhelm have opened up their sound and, as a result, crafted a spacious and sprawling album far more dynamic and layered than their debut.

 

Kranky

To Kill a Petty Bourgeoisie

"You've Gone Too Far" might as well be the mantra Mark and Jenha worked from while recording Marlone. The Patron wasn't exactly an extravagant album, however the latest from this Minneapolis based duo is far more concerned with restraint and economy than its predecessor was. The aforementioned opening song builds and develops slowly, putting numerous textures and Jenha's lovely vocals to good use. Wilhelm's voice is, in fact, the single most important instrument on the album and also one of the most diverse. Without her, certain songs would fall apart or simply dissolve before they could evolve. On the other hand, her sometimes haunting melodies wouldn't sound nearly as impressive as they do if it weren't for Mark's churning blend of guitar, bass, violin, and drums. Blasts of noise aren't quite as important this time around as continuity and thick-as-a-brick atmospheres are, but waves of feedback, drone, and distortion still play a significant role on nearly every song. If nothing else, Marlone is a further refinement of the music we heard on The Patron, but there are places where To Kill A Petty Bourgeoisie have altered their sound more radically and produced music far richer than anything from their past. Those moments are Marlone's defining ones. While some of the album proceeds at the same patient pace as past efforts, the band frequently ventures off into new territory with exotic and more exciting results.

"The Needle" is the first sign that TKAPB are ready to travel beyond their comfort zone. After "You've Gone Too Far" fades away, a pulsing keyboard melody and a thumping drum set emerge from the silence like a predator hunting down frightened prey. But this pace doesn't last long and the song quickly segues into a drift of low-end melody and Jenha's airy voice. Splashes of percussion and metallic noise swirl about her like a threatening presence, but they only break free and scream toward the end of the song. Even then, the name of the game is impressionism: Mark and Jenha's music breathes and hisses more than it punches or attacks. The upbeat, nearly dancey rhythm promised at the beginning of "The Needle" doesn't show up again until six songs later, when "In Peoples' Homes" kicks the album into serious overdrive. In the interim songs develop throbbing rhythms, but they all move in unison like a blob. Even where sharp rhythms are distinctly heard, McGee's production overtakes them with blends of melody, string textures, organic noise, and big doomy blasts of bass drums and cymbals. At times this combo manifests a romantic tone, but a kind of barren dread can be felt throughout the record, too. It's as if Mark and Jenha were performing from the other side of the apocalypse.

Still, whispers of hope and even happiness are implied on the album, as in the conclusion to "I Will Hang My Cape in Your Closet." For nearly three minutes TKAPB prepare to take off and soar into the heavens, readying themselves to escape the dark and dimly lit world in which they have always lived. Of course, this preparation is summarily erased by an eerie transition and a giant, almost mechanical blast of distortion and martial rhythm. Because an uncanny mood dominates much of the record, a sense of monotony marks parts of the record. It takes four whole songs and part of a fifth for McGee and Wilhelm to break out of their mold and produce something with a little pep to it. This could be read as a mark of dedication and consistency, but Mark and Jenha blend their influences so well that I think more variety could've enhanced the album. 

Happily, "In Peoples' Homes" explodes near the end of the album and delivers a much needed surge of strong melody and succinct songwriting. Where previous songs either relied upon Jenha alone for melodic content or shared melodic duties among various instruments at various times, "In Peoples' Homes" puts all the cards on the table at once. It is the closest the band has come to writing a pop song and its rather upbeat performance is a show stealer. The first time through, it was the most shocking thing on the album. Its yearning violin line and Jenha's playful vocals contrast sharply the sludge and droney mass that makes up the rest of the album. Upon repeat listens it isn't quite so shocking; its place on the record makes good sense and marks one of the album's highest peaks. And though its violins, acoustic drums, and clean guitar lines make for a more open sound, Marlone still shows off a dense attitude. One of the band's defining attributes is its willingness to move at a glacial pace; "Turritopsis" and "Summertime" are perfect examples of this. Big, chunky strokes of sound define both songs, which mix McGee's love for noise with major chords and an altogether bright production. Without a doubt, this is a far less destructive record than The Patron. It's also more diverse and, for that reason, a more pleasing record.

By shedding some of the darkness surrounding them, TKAPB have crafted an album with as much light to it as darkness. This lends Marlone a romantic tone, maybe even a tragic one. In any case, the freedom realized in incorporating further pop elements into their sound is significant. It both contrasts their typically intense and cinematic vision and provides it with some much welcomed depth. Without it, Marlone wouldn't be the big step forward that it is.

It is worth noting that the copy of Marlone I received has some regretably blurry text settled among the already dark artwork. I understand that black and grey make an attractive couple, but reading the song titles and the contributor's names in the liner notes was far more difficult than it should be. This is maybe a minor complaint, but it would be nice if I didn't have to strain my eyes to figure out who engineered the album and provided the artwork!

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Review of the Day

hirsche nicht aufs sofa (reissues part one)
Dom Elchklang
Something happened first when in Aachen, Germany, in the year 1886, in the shadow of Aachen Cathedral (aka the Dom!), one of the most legendary Gothic pilgrimage churches, Mies van der Rohe, modern architecture's wunderkind, was born. Almost a century later, the next generation of Aachen art royalty was birthed through the collaboration of Christoph Heemann and Achim P. Li Khan. In the shadows itself, of the Dom's pointed arches and Miesian glass-box skyscrapers, Heeman and Khan's Hirsche Nicht Aufs Sofa was a group on the cusp of contemporary experimentation and one possessing, in equal bounty, an almost Gothic, grotesque quality. This rare hybrid, present also in the likes of Nurse With Wound (to which H.N.A.S. is often compared), produced music that effortlessly resists sounding "dated," and is in many cases some of the best likely to be heard. The Dom Elchklang and G. Gonge labels are set to reissue a brand new batch of H.N.A.S. (and related) recordings. These first five, however, are considered by many to be the group's "classic" albums.

Abwassermusik of 1985 was the first H.N.A.S. LP and was culled from the duo's earlier cassette works. Credited to H.N.A.S. and Mieses Gegonge, the record is the most raw of these first five, relying heavily on the manipulated loops and cut-ups that ground the H.N.A.S. sound, and less on the unique instrumentation that dominates the next three records. A rudimentary industrial sound carries over most tracks, but here elements of kraut-rock and tinges of surrealism do emerge. The album's long centerpiece recalls Throbbing Gristle at first, though evolves into a chorus of tribal drums, chirps, and theremin flourishes. As on most all of these Dom reissues, an album's length of bonus tracks has been added here, most very early, very sparse tape works. Exceptions and highlights include a pummeling live track from Mieses Gegonge, sounding something like 50 drug-addled Faust-ians grooving in the bottom of a lake, and the first H.N.A.S. vinyl release, an early showcase for Heemann's elegant drones.


Melchior, released by United Dairies and featuring Steven Stapleton and wife Diana Rogerson, is the first in the great trilogy of early H.N.A.S. albums. The increased influence of surrealism is notable from the start in a brilliant faux-lounge number complete with Rogerson's twisted croon. The record is indulgently theatrical in many places; humorous shouting bits and guitar flourishes fill the gaps between more overt kraut-rock borrowing (surprisingly Achim has said at the time the band "knew nothing about Faust, Neu! and all the OHR/Kraut bands...") and handclap-ful post punk jogs. The whole mess is beautifully paced with soothing guitar lines and Heemann's incomparable drones rescuing each moment of acid-headed confusion. Bonus tracks are mainly '85/'86 era H.N.A.S. tunes, including one of the first (and best) songs recorded by the Melchior line-up, a gnarled landscape of trumpet squeal and organ pulse with the spoken refrain, "Listen to the sun rise, hear the birds scream." Experimentation with a variety of unlikely instruments is at a high among these tracks, creating an atmosphere so difficult to place that it belongs solely to the ageless obscurity of the Dadaists.


Recorded around the same time as Melchior, Küttel Im Frost is often described as the most pop of H.N.A.S. records. According to Achim, its primary influence was early Chrome, but where it is at all similar, Küttel towers above its peers. Rogerson's vocals return, but they've gone from surreal chanteuse to psych screamer. The astounding title track marks a peak in kraut-rock similarity without giving an inch; it's quickly and artfully unclear how much of a mockery Küttel's mish-mash of raucous pop and noise-burst is supposed to be. Bonus tracks all come from H.N.A.S.' first of only two live appearances. The concert is an excellent addition to this disc as much of the performance comes from the Küttel album.


Im Schatten Der Möhre, the third of the truly amazing early H.N.A.S. works and the only one Heemann has felt necessary to reissue on his Streamline label, combines the tenuous, staged beauty of Melchior and the twisted jubilation of Küttel to glorious effect. More dense and cohesive than its predecessors, Im Schatten is also less humorous and more demanding. As such, the album could be the group's most substantial. Bonus tracks here continue on Im Schatten's more abstract bent, fore-grounding Heemann's future work in Mimir and Mirror. Most are compilation tracks or studio outtakes from the '89-'91 period, samples, tape loops, and guitar licks (courtesy of Heeman and brother Andreas Martin) have never been harder to peel apart or label.


The release that should be the least substantial, 1988's The Book of Deingenskirchen, comprised of the group's unaltered '86 - '88 studio leftovers, is oddly one of the most entertaining. Understandably more choppy and raw than Aberwassermusik, Book features a bare-bones industrial sound with elegant, even playful interludes and spoken female vocals throughout. Despite its being essentially a trash heap, Book is the most soothing of all early H.N.A.S.; comparable to falling in and out of sleep during an old German art film. The bonus material here is by far the most various, collecting obscure compilation tracks from '85 to '92. Bizarre Melchior-ian swing tunes line up next to driving kraut grooves, pseudo-surf tracks, alien drones and absurd found sounds, all effortlessly pieced together in the way only H.N.A.S. can, or would.

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