Instrumental fancy dans Talons show off their compositional, structural and dynamic chops with their third long-player, We All Know. The album takes the listener through myriad mood changes with cold and bleak soundscapes that are tempered by warm tones, and uplifting passages. LP and CD on Holy Roar.
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It’s big music season! The folks in Talons love to hammer it home, attempting to refashion the derelict cliches of post-rock as a newly made force of nature. Just listen to how this thing starts: screeching and chugging, their first track flails at the listener, eventually finding a sweet spot between distorted metal gravel and that crystalline guitar tone that’s made bands from Explosions In the Sky to ISIS. They’re really doing it. They’re really post-rocking.
Talons interests lie in the cinematic and almost militant vibe their genre can take up: its climaxes are breathless and marching, their record opener offering straight-up staccato drum-beats before exploding into another level of intensity we didn’t know existed. Their inventory has doom metal -- with the stoned riffs and snarling rhythms -- and a spare string section too, one that whines its way through the interlude-turned-anthem “Cradles”.
In honesty, there’s something to be said for Talons and their mixology: their blueprint sounds pretty predictable but it gets blown to smithereens in tracks like “Movements On Seven”, where playful rhythm exercises a la Tortoise and Ex-Easter Island Head meet hints of black metal blast-beat and the string dances of A Silver Mt Zion. They might sound more like an educational primer in post-rock to begin with, but Talons realise their sound in bright, obscenely dramatic ways. They'll keep your pulse up.
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