War, illness, murder, exploitation, overrun, ridicule, chill. Mankind is not exactly humane in the song of the masterpiece “Hellfire”, a harsh and exhilarating third album by a British band. Black midi..
Each song of “Hellfire” is a decathlon of feats and structural whirlwinds, meter shifts, thorny harmonies, and arranged idiom hopping, and you can bend anytime, anywhere. The lyrics present an assortment of broken narrative strategies featuring primarily unpleasant characters engaged in deadly sins such as desire, greed, pride, and deadly sins. The main characters of the song include a murderer, a brutal military commander, and a performer whose final show is his own death. There are also some harsh philosophies, such as Jordy Griep rattling at the opening album “Hellfire”.
But the song doesn’t mourn. They are bristles.
Greep and Cameron Picton, members of Black Midi in their early twenties, played guitar and a variety of other instruments, and indomitable drummer Morgan Simpson met at the famous British performing arts high school BRIT School. From the beginning, the band has shown off its technical proficiency and ubiquitous listening, with preferences such as progressive rock, post-punk, pop, funk, jazz, contemporary classical music, cabaret, electronics, flamenco and noise. It is included.
Most black midi songs, old and new, are choreographed as enthusiastically as the climax scene of the martial arts festival. Speed, precision, complexity, and sudden changes are always at the band’s fingertips, allowing you to move incredibly fast. And while the musical and verbal composition is meticulously cerebral, the effect is shocking and visceral.
“Schlagenheim” Black Midi’s 2019 debut album, a quartet that included guitarist Matt Kwasnievsky Kelvin, was purely recorded by band members only.But on the album “Cavalcade” In 2021, and even with “Hellfire,” Black Midi expanded and orchestrated the song. The contrast between electric shock and delicacy is even greater as the ornately arranged string sections and the screaming wind and brass appear and disappear freely.
Even in the occasional quiet moments, the song “Hellfire” has the momentum of a white knuckle. This album perfectly represents the amazing drumming of cymbals. He is always helpful in composing. Crispy cymbal taps and soaring kit-wide rolls, fast fujirade and cymbal whispers, snappy marching band snare drums, patiently repeated funk or Latin beats exploding suddenly. This time, Black Midi’s music often moves so fast that Griep doesn’t care about the melody. Much of his vocals have arrived spoken and are working on the auctioneer’s super-fast with songs like “The race is about to begin.”
The enthusiastic, deep British gallows humor imbues the song with the belief that the scenario and structure are not too complicated. “The Defense” is a rationalization of the owner of a self-righteous brothel — “Our priest says my girl is destined for hell or so / but kneeling me a lot of time Find a Christian to Spend “— A song from a vintage Hollywood musical that will be delivered as if it were a big band show.
In the “dangerous liaison”, the farmer becomes a hired murderer and finds that the employer who afflicts him is Satan. The music is a jazz lit, going in and out of waltz time and other very tricky meters, eventually flocking to the saxophone and brass, and then Greep finally barks “Futileregret!”.
Black Midi previewed the album in the next video as if the song didn’t provide enough puzzles “Welcome to hell” — Awkward, roaring, tempo-changing chronicles of unfortunate soldiers’ beach vacation — letting viewers decipher the mysterious graphic alphabet.
In “Hellfire,” the black Midi envisions a decadent and collapsing zero-sum culture, all wars against all.Music — smart, active, overloaded, and terribly ridiculous — Furious counterattack..
Black midi
“Hellfire”
(Rough Trade)
