 |
|
Tom Carter, "Monument"
Kranky
Monumentstarts off with a barely noticable track entitled "Monument 1(Memorial)." It only last for a couple minutes and sort of eases theears into the following series whistles, whale calls, Japanese flutes,and chants . "Monument 2" is approximately 47 minutes of intenselywarm, meandering, and amorphous guitar. Carter slips on ten or twelvedifferent masks over the course of this song, each rendering his guitara new kind of instrument. The song opens with a strange tremble thatprovides the illusion of multiple guitars phasing in and out of eachother until reality finally syncs up and the sound rolls out into thatair smoothly and harmoniously. As the guitars wobble to and fro,struggling and distorted roars reach out from behind the noise to speakof pseudo-melodies and breathless spaces stretched out wide andindefinitely. The lap steel is a wonderful instrument in Carter'shands; his manipulation of its signature sound renders the instrument afar more diverse one than I thought possible. At times it sounds like abell being struck slowly and in the distant, in other places it soundslike lasers beaming through a science-fiction film, and at other timesit could easily be mistaken for a heavily edited piece of keyboardtrickery shaking in and out of earshot. Only at certain points does thelap steel make itself known as such and this allows Carter to refocushis composition and lead it off in new directions. The song is verybusy at times and, at others, it is quiet and marked by pockets ofsilence. The first time through I listened to the music with the volumeturned down quite low, but turned way up all sorts of intricategestures became obvious and the record took on a more physical andcarnal attitude. The quiet rings from the first time around suddenlybecame consuming bellows and hypnotic waves full of whales and deepbreaths. Carter switches back and forth between formless stretches ofsound and rhythmic stroking that vibrates and bends wildly out ofcontrol at times. I could go on at length about all that sounds Cartermanages to pull out of his lap steel, but I'd be ignoring a specialsomething that makes this record so beautiful. For all of itswanderings and lack of structure, Monument is full of melodicmoments and genuine heart. The exploratory nature of this record doesnot eclipse the emotional pull of the music. When the sound tightens upand nearly bubbles over with energy, I feel a tightening in my chestand anxiety takes me over for a minute. When the sound opens up andbreathes deep and sensuous breaths, I get butterflies in my stomach andsway forward with the music before the release eases itself away.Forty-seven minutes might seem like an exercise in patience, but whenthe record is over with it doesn't seem nearly long enough. -
Monumentstarts off with a barely noticable track entitled "Monument 1(Memorial)." It only last for a couple minutes and sort of eases theears into the following series whistles, whale calls, Japanese flutes,and chants . "Monument 2" is approximately 47 minutes of intenselywarm, meandering, and amorphous guitar. Carter slips on ten or twelvedifferent masks over the course of this song, each rendering his guitara new kind of instrument. The song opens with a strange tremble thatprovides the illusion of multiple guitars phasing in and out of eachother until reality finally syncs up and the sound rolls out into thatair smoothly and harmoniously. As the guitars wobble to and fro,struggling and distorted roars reach out from behind the noise to speakof pseudo-melodies and breathless spaces stretched out wide andindefinitely. The lap steel is a wonderful instrument in Carter'shands; his manipulation of its signature sound renders the instrument afar more diverse one than I thought possible. At times it sounds like abell being struck slowly and in the distant, in other places it soundslike lasers beaming through a science-fiction film, and at other timesit could easily be mistaken for a heavily edited piece of keyboardtrickery shaking in and out of earshot. Only at certain points does thelap steel make itself known as such and this allows Carter to refocushis composition and lead it off in new directions. The song is verybusy at times and, at others, it is quiet and marked by pockets ofsilence. The first time through I listened to the music with the volumeturned down quite low, but turned way up all sorts of intricategestures became obvious and the record took on a more physical andcarnal attitude. The quiet rings from the first time around suddenlybecame consuming bellows and hypnotic waves full of whales and deepbreaths. Carter switches back and forth between formless stretches ofsound and rhythmic stroking that vibrates and bends wildly out ofcontrol at times. I could go on at length about all that sounds Cartermanages to pull out of his lap steel, but I'd be ignoring a specialsomething that makes this record so beautiful. For all of itswanderings and lack of structure, Monument is full of melodicmoments and genuine heart. The exploratory nature of this record doesnot eclipse the emotional pull of the music. When the sound tightens upand nearly bubbles over with energy, I feel a tightening in my chestand anxiety takes me over for a minute. When the sound opens up andbreathes deep and sensuous breaths, I get butterflies in my stomach andsway forward with the music before the release eases itself away.Forty-seven minutes might seem like an exercise in patience, but whenthe record is over with it doesn't seem nearly long enough. -
