Tacoma Narrows Bridge Disaster – Exegesis
Stream – Calligraphy
There’s nights where the sky is nothing but that empty black sketchpad with a couple of white dots (and the occasional blotch if there’s no light pollution). Then there’s nights where you’ll just look up, all wary after a stressful day and you’ll find yourself mouth agape, looking at that vast, fathomless void.
The stars, capriciously forming constellations. They twinkle, they tremble (due to the blood pumping through your body – it makes your head move enough to make them move slightly). What is the sound of the stars? What can be as expansive as that sky?
Tacoma Narrows Bridge Disaster’s Exegesis is a trip. Just from the beautiful picture grazing the cover you know this will be an otherworldly experience; notes travelling back and forth through the Outer Planes.
A heavy type of rock, veering between prog and post rock, Exegesis is mostly made up from long, thick atmospheric instrumental songs where every instrument is like a clear cut voice, with all members forming a choir. ‘Fractal world’ starts coyly but then marches on with staunch bravado. There’s attitude and a drummer clearly having a lot of fun while still keeping the band on a schedule.
‘Exegesis’ and ‘Black iron prison’ are two tracks with vocals. Sometimes they are clear as day, sometimes they are just a distortion in air, adding another extra layer to the prog heavy atmospheres. Both songs also feel like a journey: not only each clock 9+ minutes, but the ideas gel and flow together so well, you barely feel them (especially ‘Wake’, the psychedelic and thunderous album closer). There’s also enough tempo changes to keep it varied. ‘Sungazer’ (hey, also with vocals) suddenly leaves the guitar alone in the dark and it fends off like a violent John Woo ballet of blood and bullets.
Two tracks are real dealmakers (mind you, I wouldn’t skip any of these). ‘Valis’ (hey, is that a Phillip K. Dick reference?) feels like watching a comet hanging out like a bad omen. The ominous atmosphere steadily grows. It explodes, contracts into a Black Hole and then explodes again. The cyclical nature never repeating but following a natural progression. ‘Calligraphy’, takes less time to explode, but it does with a furious attitude. A sky glowing blue and violet with lightning hitting a thousand unfortunate lightning rods in the distance, it’s one for those rainy nights where the sky will hide behind those moody clouds.
This is an album for people with love for heavy guitar atmospheres and rhythm sections showing up how it’s done. The pace is slow but never boring. The energy is cranked up and the atmosphere, just like the album cover, is an expansive, vast ocean of sounds that is never too technical for its good; emotion supersedes technical prowess. Fantastic album for everyone wanting a dose of heavy yet dreamy stuff.
PS: Alguien en México págueles el viaje.