If your relationship with music is superficial or occasional, if you have more important things to do than focus on listening to an album, if you can't keep your attention on a track for more than four standard minutes, well then just skip this review and stop reading now, don’t waste precious time, because this album requires time, commitment, and attention.
If, however, you think you have the patience and desire to dedicate a few hours of your time to listening and relistening to sixty damn minutes of beautiful, challenging, engaging music, then keep reading and remember this name "The Silver Mt. Zion Memorial Orchestra & Tra-la-la Band With Choir".
Remember it, but don’t fall in love with it, because it’s certain it will change in the future. In fact, this ensemble, alter ego of Godspeed You Black Emperor (thank you joser), has already adopted three different names in as many albums.
Open to change, always striving for the construction of complex yet fascinating sound castles, these splendid Canadian madmen continuously change their skin, but not their spirit. As in the guise of "Godspeed You Black Emperor," they propose very long tracks (four for a total of sixty minutes) and are constantly evolving.
However, while the music of "Godspeed You Black Emperor" is apocalyptic and disruptive, that of "The Silver Mt. Zion Memorial Orchestra & Tra-la-la band with choir" is circular, continuous and probably celebrates the more intimate and restless side of its performers.
So do not expect the sonic explosions of Yanqui U.X.O., but a more reflective music.
Another difference compared to Godspeed You Black Emperor is the presence and importance of the voice. All the tracks present, in fact, alongside interminable but beautiful instrumental moments, ample sung parts.
For example, the first track is initially characterized by a chorus, which intones a sort of hypnotic litany. This, however, slowly changes and almost without realizing it, you are transported where the voices are distant and the violins well present.
It's impossible to describe the four suites that make up the album without running the risk of getting lost among symphonic atmospheres, choirs, silences, train noises, echoes, guitars, violins, and the painful voice of Efrim Menuck.
So the only thing to do is close your eyes, open your mind, and listen.
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