Sonna
We Sing Loud Sing Soft Tonight

THE REVIEW

Let's get straight to the point, otherwise we'll lose ourselves in unnecessary excursions for an album that would be equally pointless.
If you DO NOT like the guitar intertwinements and ramblings of Explosions In The Sky, stay away from this album.
Because these Sonna, from Baltimore, Maryland, were doing roughly the same thing EITS were doing, without the noise and sonic approach of the latter.

A muffled drum accompanying a push and pull of embroideries and phrases, which are quite pleasant at the beginning (The Opener), but lose their appeal when they become too slow. In Sing Soft Tonight, the tempo is barely maintained as the notes are so spaced out.
All the tracks are also long, always around 8/9 minutes, easy to drop anchor and discard a surely monochromatic (as the cover suggests) and verbose record, too dispersive.

But then, in the end, comes the surprise.
The last track Real Quiet; which is in (real)ity anything but quiet compared to the rest. A substantial ride, contained in duration and highly effective, with an "explosive" ending, almost a reinvented double time swing. A post concentrate, sunny and pressing.

If we contextualize the album, we are faced with an exploration of those post-rock guitar territories that would become a model in the years to follow. We are indeed in the middle of 2001 and EITS have yet to really explode (although it's just a matter of months).

Et voilà. A brief write-up for a forgotten album.