The Besnard Lakes return! Strong themes of ghosts and nature run through the songs of A Coliseum Complex Museum, along with their skilled take on heavy-shoegaze-rock-pop (a cumbersome genre tag maybe, but that’s what it is!). Super-detailed ecstatic production duties carried out by band-leader Jace Lasek. Coloured vinyl version only available from indie stores!
LP £15.49 JAG276LP
LP on Jagjaguwar.
- Shipping cost: £3.15 ?
LP £15.49 JAG276LP-C1
Limited indies only COLOURED vinyl LP on Jagjaguwar.
- Shipping cost: £3.15 ?
CD £9.99 JAG276CD
CD on Jagjaguwar.
- Shipping cost: £1.00 ?
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You know the Besnard Lakes. Clunky album titles, convoluted narratives, epic fucking soundtrack music: this Canadian sextet have long been presenting their albums like finely-tuned dioramas made at the finish of a school-term’s work, detailing their music as if they were just hoping to take home the A+. ‘A Coliseum Complex Museum’ -- which ranks second in their pantheon of Most Awkwardly Named Records -- continues to pile texture on texture, scour distortion over lucidity and sprinkle harmonies over the music like a million-flavoured ice cream, all in an attempt at being the biggest boldest best.
Whatever to all that: the Besnard Lakes, as always, find you in moments. Sounding a lil’ Alan Sparhawk as he tears his way out of the piercing guitars and sturdy rhythm of “Golden Lion”, Jace Lasek is putting too much into otherwise gorgeous and simple melodies. On “Pressure of Our Plans”, he offers one quiet moment for a hook to line up before coating the song with reverb so mighty it feels like an avalanche falling down a mountain rising from the sea. The vocal lines themselves are pretty and cozy, but they’re given the euphoria of ten thousand Brian Wilson’s singing at once, plus the unmoveable psychedelic force of a latter-day My Morning Jacket excursion. The Besnard Lakes live for more, but they could move with a lot less.
‘A Coliseum Complex Museum’ glistens and echoes and shines, and that’s the only thing the Besnard Lakes need to guarantee: it’s moments like the opening of “Necronomicon”, though -- where the bassline and crystalline guitar riff calibrate a little more patiently, with a little more clarity -- that actually make a connection. It’s hard to keep up with Besnard Lakes, but when they notice you’re way behind and come trundling back down to you? It’s worth it.
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