Sweek
The Unbelievable Cinematic Crash

Sweek are today one of the most creative groups in the world, the only ones to have revitalized a genre—the infamous post-rock—that seemed to have gotten lost amidst the verbosity of its standard-bearers. After the excellent debut "The Shooting Star's Sigh...", the Walloon sextet has further refined the formula that made people proclaim a miracle, delivering another excellent work that shines in the desolate contemporary music scene. "The Unbelievable Cinematic Crash" is a ballardian crash in the best sense. From the twisted metal emerge sounds of unprecedented intensity: electric guitars, violins, clarinets, even harps alternate seamlessly.

The first two compositions are the best the Belgian sextet has ever produced. "Thanx for Sundays (Nothing To Do With Any God!)" alternates the usual moments of electric fury with dreamlike confetti of unusual effectiveness. As if the God Machine had never lost poor Jimmy Fernandez along the way and had arrived in David Pajo’s Spiderland. 15 minutes, and you don’t waste a thing. Like a steam train cutting through the fog as it crosses the forests of the Ardennes.

"Tequila Fitness Club" starts soft and jazzy, only to derail towards Morriconian shores. Until the emaciated ghost of the Slint's "Washer" arrives, in a dissonant and mad race against death.
"Tears of Happiness" is a brilliant acoustic interlude suitable for catching one's breath, despite the marked influence of Sigur Ros. It quickly picks up again with "Iki" and "A Dead Sleeping Forest", with the usual quiet-loud alternation, disfigured towards magnificent Irish folk atmospheres. Folk references also dominate the concluding "Trust Me", in which the intertwining of guitar and violin ultimately overwhelms.

In conclusion, an excellent album. If Sweek continue on the path of the delirious experimentation of "Tequila Fitness Club", a masterpiece will be on the horizon.

4 and a half stars are just perfect, for the best album of 2005.