Do Make Say Think - & Yet & Yet
(Constellation)
Constellation Records, we meet again.
Last year I wrote a rather long and involved review panning the awful A Silver Mt. Zion record, Born Into Trouble as the Sparks Fly Upward. A few weeks later, a copy of the review appeared on the Constellation website with a short disclaimer calling the review "asinine." Those in the business
of Godspeed side projects don't react kindly to the notion that Godspeed
side projects are no longer (were never?) fashionable.
A perfect opportunity for payback, right? Unfortunately (or, rather, fortunately), the new record by the Toronto based instrumental/jazz group Do Make Say Think is, so far, the best thing that has been released this year.
The whole thing starts with the electronically manipulated and jammy "Classic Noodlanding," a song which, on its own, could justify the entire album. It's pretty, and James Payment's drumming has never sounded better. As it stands, it's a teaser for the greatness that lies within. Following "Classic Noodlanding" is "End of Music," unfortunately the weakest track on the record. It's got a similar sound and vibe to it as the opener does, and it is given a little more time to flesh itself out. What's great is that even the weakest track on the record is better than most anything else that's been released this year, and it has a really haunted vibe that fits in with the sound and mood of & Yet & Yet.
However, it's during "White Light Of," the third track, where things really kick into gear. Combining a build that would not be out of place in a Mogwai song or during one of Godspeed's extended pieces, and having it cut out right at its peak to display some really striking guitar work, "White Light Of" heralds the best portions of the album.
"Chinatown" starts this off, and, like the movie of the same name, it's a slowed down, monumental, and thoughtful experience. Also like the movie, it incorporates a dual sense of gloom and foreboding, with processed drums, synth, a very skeletal guitar figure, and minimal bass. Overtop of this, in the background, are field recordings similar to those which were incorporated into "All of This is True," from 2000's stellar Goodbye Enemy Airship the Landlord is Dead. But instead of sticking out, the recordings on "Chinatown" blend in seamlessly with the instrumentation and give the song an added emotional depth. Fantastic.
After that comes the highlight of the album. "Reitchule" and "Soul and Onward" provide a double slap in the face, bringing together everything good about Do Make Say Think while at the same time opening the door to a new, more complex sound. "Reitshule" starts off with about a minute of guitar; it's a simple figure that nonetheless tickles your brain with its combined morose and hopeful feel. All sorts of layers of sound are added onto this, including the prettiest trumpet line they've ever used before cutting it down to a single guitar once again. The trumpet and bass are added back in, and the song begins to build again. This is cut short a little bit, and the song segues into the gorgeous "Soul and Onward." For the first time, Do Make Say Think add vocals into the mix, even though there aren't any words, just singing. The song sums up the feeling of & Yet & Yet, and it's probably the best thing they've ever recorded.
The album doesn't end so much as it does fade away. The despondent guitars of "Anything for Now" disappear into static and noise, only to reappear again, then to fade away, leaving a single tone which dissolves back into static and begs for the whole thing to start again.
Not often do albums come out that are this good. Basically, & Yet & Yet is the aural equivalent of a book like Infinite Jest. Epic, sad, yet hopeful, and perfectly covering a wide range of emotions while at the same time summing up the feelings of the reader/listener. Or, maybe I'm just a big fan of Infinite Jest. Either way, this is the best thing that Constellation has ever released, and probably ever will.
At least until the next Do Make Say Think album.
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