Quinimine - Filaments
(Grey Flat)
There are two—or, perhaps, three—camps of people when it comes to Godspeed You Black Emperor! (oh, wait... I'm sorry... isn't it now Godspeed You! Black Emperor? great change, there, guys): there are those who fawn over everything that the band and their side projects release, those who like the band but hate the side projects, and then there are those who've become so sick of the band's side projects and childish politics that they've given up completely on GYBE. I hate to say it, but I'm now in the third category. I was able to forgive Efrim and company for such transgressions as the terminally awful Silver Mt. Zion record, all of Aidan's "projects" (One Speed Bike, Exhaust, etc), the idiocy of never playing Canadian dates and always playing in Europe, and, like I always seem to mention, the heavy handed, childish politics. Then Yanqui UXO came, and with it came anger. Anger that the band hadn't even tried to change the formula. That they were releasing the same album that they've released three times already, that Efrim was still as clunky as always, and that there was no refinement to the political aspects of the band. What does this have to do with Quinimine? Not a whole lot, but, as they are being lumped into the unfair category of "Godspeed side project," I find that it's hard not to come up with some tirade illustrating my growing hatred of GYBE. That, and I didn't want to have to carry it through to a whole review. I don't want to touch Yanqui UXO with a ten foot pole.
Quinimine basically are a Canadian sad-core quartet with a penchant for affecting melodies and somber vocals; not unlike Bedhead on a rainy day or a more lively less boring-as-fuck Low. On this, their debut five-song EP, they kick it old school with some really pretty music. And, not a field recording in sight.
The whole thing starts with the understated title track, which remains my favourite on this release. It combines subtle, tasteful drumming and some vintage Farfisa-y organs (sounds like a Farfisa, anyway) with a really pleasing guitar melody. If the track is anything, it's pleasing. Clocking in at just over seven minutes, you can imagine what kind of a slow-burn it is, and Gary Jausz's vocals make no bones about it: this is sad-core and it's great. The second track, "Median States," follows a similar route, with a plucked banjo in the background, and two guitars playing contrasting melodies in the forefront. This track, like the one before it, is achingly beautiful, and Gary sings in the same drawn out, relaxed style. What Quinimine lack in diversity of sound they make up for in a back-porch mood and vibe that's really perfect and relaxing.
I'd say that the biggest problem with this release is its reliance on one typical sound utilized by the same combination of instruments. I mean, far be it for me to say that they should change what they're doing, because I like what they're doing so much, but when five songs are carried out over the course of 40 minutes, it's hard not to get a little bored with the proceedings. Nonetheless, like I said before, what this album lacks in its diversity, it makes up for in the sound and vibe it carries through. This is no less present on the final track, the traditional "Knoxville Girl"—stretched out to almost nine minutes and featuring some of the band's best playing, it really is one of the highlights of this release. It's structured around dual male/female vocals and a simple guitar melody, and remains incredibly simple, but it's very much affecting and powerful. Which I guess sums up Quinimine's music pretty well: simple, yet affecting and powerful. Which I think is a pretty good combination.
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