CRESCENT

By the roads and the fields

CD/LP, Fat Cat

 

There aren’t a lot of things that are better than lying in the grass somewhere in the country-side, watching clouds drift over a perfectly blue sky and listen to music, that is all about praising the moment, the here and the now. Crescent delivers soft and easy moments, intimate and introverted, but still making every single note played important and worthwhile. Opening opportunities for the listener to get completely lost in their songs, or rather tracks, because these almost mantra-like, revolving floorboards of music evolve a floating, dreamlike atmosphere, which will submerge the listener. Ah, what a wonderful, relaxing ride.

From time to Crescent remind me a lot of – now hold your breath – The Doors in their pseudo-spiritual live-jams / drones, especially when the drums get into that soft psychedelic groove that uses a lot of toms and bongos, the organ hums away endlessly and the singer starts to recite lyrics with a lot of echo on his mic. Just listen to “fountains” and you’ll know right away what I mean. Other songs are more experimental, especially the next to last track on this album, “mica”, which is an instrumental exploration into the sounds of interacting chimes and wooden bells. Whereas the eighth and last track, “structure and form” uses an almost jazzy drum-rhythm and chord-change to get back to the model.

Crescent are firmly rooted in the “new psychedelic” or “postrock” movement that started in the mid-nineties in Bristol that included bands such as Flying Saucer Attack, Third Eye Foundation or Amp, and all members of Crescent have been or are still working with some these bands. What connects these bands, which are ranging from deliberately lo-fi and improvised guitar-noise to digital and pre-structured electronic music, is a sense for letting music develop on its own terms, never speeding up or pressing the songs to become something they are not. Therefore each and every instrument, harmony or sound is important, scrutinized and used only if really necessary. And because Crescent have been on and off this thing for over ten years now, they have become quite immersed in their music, and, even though they are far from prolific, very good at it.

The predominant tone of these songs is one of sleepy drowsiness, but the revolutions and explosions are here. The listener has to get into these songs, has to fall into the same flow as the musicians – the ideal situation in almost any artist-recipient-connection – and then he is in for an adventurous ride. A strategically placed harmony line, a bobbing-bass-chord, the almost spastic clinker-clanker of some indefinable percussions mixed with single high piano-notes, will become a cemented basis for a wonderful trip.

And if you let yourself fall into the music deep enough, you’ll get to another thing: how Crescent are fond of mixing surprising little gems so far into the background that they are almost inaudible. Diving deep into the Sargassean Sea of this record for instance you’ll find big string sections complementing the superficially so sparse arrangements. To me, this hiding the vastness and variety of their approach behind a wall of simplicity and unfilled holes is the real feat of Crescent. And that you start to think, if you dreamed up some of this music yourself, while drowsing on a green pasture under the summer sun.

www.fat-cat.co.uk

06/2003