8/26/2023 0 Comments Brave little abacus discomfortIt then falls down to an acoustic guitar and adlibbed reprised lyrics from earlier in the song. The best track on the album is the second to last track named “Bug-Infested Floorboards-Can We Please Just Leave This Place, Now.” This track builds up to a heavily emotional and cinematic peak that uses horns, screamed vocals, and syncopated drums. The following track “Untitled (Cont.)” starts with very cinematic horns and other loud instruments, builds up to even louder instrumentals, and then breaks down into a ringing melody with tightened drums. It then builds up to yelled lyrics and then breaks down into a slower song. This song is a highlight because it is quieter and uses lighter noises, like tambourines and bells. The track “Can’t Run Away” starts with acoustic guitars using harmonics within the rhythm. The drums on this record are very unorthodox, as they heavily use repetitive cowbells and unusual time signatures, which makes the music more interesting. This feeling carries into several tracks that use synthesizers that mimic old videogame music, which emulates a sense of nostalgia well. The song is full of angsty, screaming vocals and bass-heavy guitars. ![]() The first track, “Pile! No Pile! Pile!” is jarring in the first few seconds, but I immediately got used to it, which is perfect as it continues for the rest of the album. I imagine that other people would probably enjoy it too.The Brave Little Abacus’s 2010 album Just Got Back from the Discomfort-We’re Alright is an amazing math-rock emo record that uses weird time signatures, wacky instruments, and satisfying dynamics. Over the course of only a couple of months, this album has become one of my favorites of all time. And read the lyrics! And stick around for the last two songs on this thing. All I want to leave you with is this advice: download this album. I could probably gush about the quality and depth of these twelve songs for a few more pages, but that’d probably get boring pretty quickly. The level of artistry and talent exhibited in this album is unbelievable, especially considering its creators were a group of late-adolescents who were seemingly uninterested in garnering any profits from their work. Melodies reappear, strengthening certain ideas conceptual ideas and tying the album together. Lyrical motifs abound, mostly dealing with general themes of uncertainty and leaving. ![]() In these movements, songs flow together imperceptibly and feel like cohesive episodes. The album flows in four movements, each portion separated by an acoustic or instrumental track. Horns and strings are used alongside distorted guitars and fluttering synths to marvelously accentuate the emotion and meaning of the music, building to massive crescendos and dropping out for powerful ambient sections. On top of this, the songwriting is exceptional. There is no excuse, I need this.” and “I want to die when you're not here, because I'm convinced that everyone else thinks that I'm a dick.” with an uncanny level of passion and sincerity. This is most evident when Demirjian shouts lines like “.when I say I’m sad, I mean it. It’s all very chaotic and can sometimes sound like an extremely well-performed demo, but the genuine, heartfelt nature of the music shines through any technical or aesthetic issues. The recording is intricate but lo-fi, occasionally sounding a bit muddy or grating when the intensity is at its peak. The main singer, Adam Demirjian, quickly shouts, yelps, and shrieks along to the band’s sonic fracas, managing to stay just in time with their oddly timed orchestrations, losing some words along the way. However, the BLA could easily be a very annoying band solely because of their aesthetics. And out of all of these bad feelings comes a thorough sense of rapturous joy. It’s an album full of confusion, stress, denial, and the eponymous discomfort. In text form, the sample likely sounds rather juvenile and uncool (and in reality, the latter is true to a certain extent), but it actually manages to perfectly encapsulate much of the conflict and distress present on The Brave Little Abacus’s sophomore effort. Why do you suddenly care about their opinion of you?”Īnd Malcolm earnestly responds, “Because I’m shallow. To you everyone’s either a moron, or a creep, or a poser. ![]() In the sample, Dewey states “You hate everyone. In this calm, introspective, and somewhat climactic moment, a sample plays from Season 4, Episode 2 of Malcolm in the Middle. Near the end of the eleventh and penultimate track on just got back from the discomfort-we’re alright, all of the band’s (extensive) instrumentation cuts out, save for some accordion and acoustic guitar. Review Summary: A rough, poetic, and deeply beautiful burst of eclectic emo brilliance
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