2023-11-20 14:01:08
Ariel Engle (Broken Social Scene, La Force) and Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion) harmonize in an unearthly trance Darling The Dawnher second album as ALL HANDS_MAKE LIGHT.
Two years after their self-titled (and, given the people involved), debut in 2021, which made surprisingly little noise, the two Canadian scene luminaries aptly categorize their collaboration (which does not involve guitars or other acoustic instruments) as “sort of electronic shoegaze suffused with freak-folk, kosmische, darkwave and post-industrial, flowing from ambient minimalism to pulsing maximalism, conjuring traditionals sung in the haze of earliest light accompanied by overdriven circuit boards powered with ungrounded wires.“
What actually turns out to be less special than it might read: Darling the Dawn has become an intuitive record that offers many nuances and depths to discover, but is downright beguilingly barrier-free.
Seems developed on the ambient foothills of spherical drone post-rock surfaces Darling The Dawn Always pulsating in a measured shimmer, the numbers capture more atmospheric vibrations than actually represent constructed songs. There is a graceful beauty with spacey, distant hatchings, a warm, wobbling, soft wave that surrounds the three most expansive pieces (also through the contributions of DIRECTION– Drummer Liam O’Neill and electric violinist Jessica Moss reinforced) flows.
The meditative one We Live on a Fucking Planet and Baby That’s the Sun indicates the awakening of the number with sparse percussion in the background, Engle’s voice dances on the jazzy Kraut drumming, seducing the melody so naively and lively to a flower meadow around the gray tunnel, where Menuck, for once, also comes into focus vocally. In The Sons and Daughters of Poor Eternal At some point a smooth groove settles into the stellar roar – the layers of vocals and chiselled textural sprinkles are arranged in such a detailed yet reserved manner, interlocking elegantly and seductively, creating a trance-like peacefulness.
And the unity off Anchor and Lie Down in Roses Dear follows a slow motion wave to the crackling beeping and rumbling in gentle grace, first making it clear that Darling the Dawn is not an esoteric mental exercise, but a journey in digitally generated mysticism, but also that the emotionally insignificantly engaging sound cosmoses almost always end too abruptly and do not reach satisfactory climaxes, but rather lead the way to vague goals. A bit like the welcome comfort zone, hope for the next one Godspeed You! Black Emperor-Apocalypse to refuel.
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