2023-05-14 15:15:46
After a series of soundtrack works (for e.g Only Lovers Left Alive, Paterson or The Dead Don‘t Die) as well as a handful of EPs Carter Logan and Jim Jarmusch as Sqürl with Silver Haze now present their debut album.
The project was founded in 2009 The Limits of Control musical accompaniment, but only now has the duo found the time together with producer Randall Dunn to devote themselves to their own long player.
It doesn’t matter that the eclectic work, despite a homogeneous charisma and aesthetics, remains a patchwork of individual songs even following this long lead time! The associative and imaginative pull effect of the record is also quite captivating and in this respect it must be reproached that a more holistic arc of suspense instead of scenic moments is the essence of Sqürl would have been even more accommodating; the eclectic genre hybrids deserved to be more than the sum of their parts.
As a fan of the intrusive references – carry more than all other influences Sqürl the embossing of Earth – pulls Silver Haze in any case immediately under his spell.
Berlin ’87 the rest of the way is hallucinogenic drone rock with slow, stoic and simple drums, around which psychedelic guitar loops pull to create a dreamy trance – not only Dylan Carlson will have teary eyes with bliss when barren prairies appear in front of the inner eye open up in the head cinema, which also in the lulling The Red Desert musing, a border crossing between Americana and dark folk, beguiled by classic rock, which might go on forever due to the pull of its atmosphere and the calmly flowing, repetitive groove.
Queen Elizabeth reminded of dawn in the red wine-heavy goth hall of the half-dark Wüse and the title track pushes a more lively, no, rather airy rhythm under its optimistic, nevertheless nebulous shimmering sea of guitars – as a closer, however, the number releases too vaguely hanging in the air: the common thread is there, but regarding doing the balancing act diametrically opposed to the basic orientation of the pieces and therefore ultimately only achieving an overwhelming goal. After all, how good would the record have been if Silver Hazethe song, would not have understood his breathing deeply following regarding five minutes as a start for the end, but as a run-up for a herbaceous tour de force that would have exhausted all the strengths of the duo bundled once more?
Before searches Silver Haze however, according to different priorities, while the balance of instrumental pieces and songs with (spoken) vocals is unbalanced. Garden of Glass Flowers Marc Ribot invites you to a soft, melodically gentle and brightly open contemplation that flows like a babbling meditation from Sonic Youth feels in the post rock while She Don’t Wanna Talk About It a duet by Jarmusch with Anika represents, which roughly gives an idea of how Iggy Pop as the crooning frontman of Purple Mountains would have occurred to outline enraptured nostalgia and romance.
In The End of the World the 70-year-old cult director recites thoughts regarding getting older on the way down the somnambulist rabbit hole with an engagingly sonorous, captivating voice, John Ashbery Takes a Walk tries something similar, only a little less fascinating, with Charlotte Gainsbourg – the chanteuse guides a little too clearly through the transcendentally meandering-dozing, too abruptly ended spectrum.
There is hardly anything original in the course of the process, but a lot is monotonous – but precisely in the intersection of this discrepancy lies the familiar, engaging charm of Silver Haze, which actually promises a promising future for friends of the adapted sound worlds, which is already a convincing one niche in the territory of Earth begins to set up.
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