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Clang Quartet, "The Separation of Church & Hate"
Silber
There's just something about a band that creates their own instrumentsto make the message they commit to tape. They thumb their nose atconventional instrumentation, striving for a higher statement of being,demanding more struggle for themselves before composing their work.Once they've made sounds with that new instrument, though, the resultoften doesn't produce anything resembling a great leap forward, and canget mired in its own imperfection. Unfortunately, that is the case withClang Quartet, whose new album had so much promise. The title, a switchon a familiar phrase, becomes funny but incredibly appropriateconsidering that so much hate is generated by differing religions andthose that follow them. Cover art drives the point home even moreeffectively, as what appears to be swastikas mixed with crucifixesjumble together until indistinguishable from each other. The keyproblem with The Separationis that the power of this concept is belittled by the sounds inside,and therefore the message, though admirable and necessary, isirrevocably lost. The sound of this record is not only generallyunappealing, but in areas almost unlistenable. Scotty Irving, who isthe Clang Quartet, believes the line between sound and music to beinvalid, and it shows. He loves percussion, so most songs arestructured as purely beat driven with an unaltering melody. The openingtrack, appropriately titled "Amazing Disgrace," is monotonous andultimately just gains volume and distortion, plus a few keyboard-likesounds that may or may not be "The Crutch" (Irving's new and originalbut ugly instrument). Loud angry drums that appear towards the end addmore flavor and still more volume, but the overall effect is stillstatic and annoying. "Under God" feature squelches and buzzes instead,effects that burble and bleep, but grate above all else. "The InfidelWithin" has wild tracks, commentary, and a bit of sermonizing fromIrving, all dealing with the infamous Proctor & Gamble Church ofSatan argument. The track is wholly uninteresting, although it isimpartial, and this time it's Irving himself that is the annoying part.When it isn't percussive nonsense driving the tracks, it's his voice("Hadephobia") or message, which apparently involves increasedself-promotion ("Two or More Gathered in HIS Name Part 2"). Hisrepeated assertion that he does not create "music" is supported quitewell by these songs, but it's infortunate that he does have amessage worth delivering. The fact that it's not comfortably delivered,or even coherently for that matter, does it a great disservice. Evenwhere he drives the message home lightly, it's like nails on achalkboard. Messages like his are never easy to listen to, but ClangQuartet go an awful distance to make it more uncomfortable than itneeds to be, and thus the message goes unheard or gets misunderstood inthe final analysis.
There's just something about a band that creates their own instrumentsto make the message they commit to tape. They thumb their nose atconventional instrumentation, striving for a higher statement of being,demanding more struggle for themselves before composing their work.Once they've made sounds with that new instrument, though, the resultoften doesn't produce anything resembling a great leap forward, and canget mired in its own imperfection. Unfortunately, that is the case withClang Quartet, whose new album had so much promise. The title, a switchon a familiar phrase, becomes funny but incredibly appropriateconsidering that so much hate is generated by differing religions andthose that follow them. Cover art drives the point home even moreeffectively, as what appears to be swastikas mixed with crucifixesjumble together until indistinguishable from each other. The keyproblem with The Separationis that the power of this concept is belittled by the sounds inside,and therefore the message, though admirable and necessary, isirrevocably lost. The sound of this record is not only generallyunappealing, but in areas almost unlistenable. Scotty Irving, who isthe Clang Quartet, believes the line between sound and music to beinvalid, and it shows. He loves percussion, so most songs arestructured as purely beat driven with an unaltering melody. The openingtrack, appropriately titled "Amazing Disgrace," is monotonous andultimately just gains volume and distortion, plus a few keyboard-likesounds that may or may not be "The Crutch" (Irving's new and originalbut ugly instrument). Loud angry drums that appear towards the end addmore flavor and still more volume, but the overall effect is stillstatic and annoying. "Under God" feature squelches and buzzes instead,effects that burble and bleep, but grate above all else. "The InfidelWithin" has wild tracks, commentary, and a bit of sermonizing fromIrving, all dealing with the infamous Proctor & Gamble Church ofSatan argument. The track is wholly uninteresting, although it isimpartial, and this time it's Irving himself that is the annoying part.When it isn't percussive nonsense driving the tracks, it's his voice("Hadephobia") or message, which apparently involves increasedself-promotion ("Two or More Gathered in HIS Name Part 2"). Hisrepeated assertion that he does not create "music" is supported quitewell by these songs, but it's infortunate that he does have amessage worth delivering. The fact that it's not comfortably delivered,or even coherently for that matter, does it a great disservice. Evenwhere he drives the message home lightly, it's like nails on achalkboard. Messages like his are never easy to listen to, but ClangQuartet go an awful distance to make it more uncomfortable than itneeds to be, and thus the message goes unheard or gets misunderstood inthe final analysis.
