The For Carnation - s/t
(Touch and Go)
I had not really been looking forward to this record. I think it had
something to do with the fact that when I saw them a while back I had
fallen asleep at the show. Really, though, it's understandable. It was
one o'clock in the morning on a school night, I was sitting down (not much
dancing at The For Carnation shows), and, really, come on, The For Carnation was
playing. At one o'clock in the morning you might as well just sing lullabies.
This record, though, is razor sharp. The time the band has taken to put
this together is really apparent in the final result. Each song is focused
and deliberate; the fat has been trimmed, leaving six perfectly executed
tracks. The instrumentation is sparse: drums roll along, just a touch
faster than the bass, which anchors a minimal groove, over which the
guitars and keyboard tones fill in the empty space just as much as
necessary. Only on "Being Held" does the band even approach "rocking"
(largely due to the forceful drumming of guest Britt Walford), but the
songs are never less than compelling, and often quite intense. Rather than
being knocked over the head by a huge rock sound (the easy way), the For
Carnation carefully entrances the listener in its snaking winding melodies
(the smart way).
Lyrically, Brian McMahan is as enigmatic as ever, and I will leave
interpretations aside. His delivery, on the other hand is precise and
measured, well balanced as his voice floats in and out of the music. Its
open and vulnerable, not weak, but with a strong, assured presence.
Overall its reminiscent of McMahan's best work with his previous band Slint
(also with the aforementioned Britt Walford). Particularly, it has a
similar effect as Slint's "Good Morning, Captain," creating a somber and
slightly creepy vibe, McMahan whispering in your ear like some kind of mad
post-rock mystic. Who knows, perhaps he is!
In any case, let's hope we don't have to wait another ten years before the
next full length album.
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