-Clay’s Take- Big Sir: Before Gardens After Gardens

 

One thing that makes the arts so fascinating is the social stratification between the audience, the artists and the people who bring the two together.  Every person views a piece differently and various things speak to them or draw them in.  Ask someone “what’s your favorite album?”  If the person works in a cubicle inAnytown,USA, the album is generally something that universally speaks to people.  If they are a singer, chances are it is an album with astounding vocals.  If they are a drummer, they will probably say a hip-hop album but secretly it is a Neil Peart venture.  Ask a sound engineer and the answer is an album no one has heard of because they “really enjoy the sound editing and the mix.”

The thing is the sound engineer is the one who has the most qualified opinion and their favorite album is one you probably should have heard of and should be in heavy rotation in your library.  There should be an annual award for “Best Album You’ve Never Heard Of” at the Grammys and it should be handed out by a balding guy with a pony tail, plastic frames and a black Zildjian t-shirt.  In fact, we’re going to start one right now.

2012 has received its first entry for the BAYNHO Award in the form of Before Gardens After Gardens by Big Sir, a duo featuring Lisa Papineau (best known for adding her vocals to M83) and Juan Alderete (bassist for The Mars Volta).  The album, in all of its lo-fi minimalist splendor is meant to be enjoyed in its entirety, not to be cherry-picked for individual tracks.

The album lurches out of the gate with an awkward drunken stumble as “Regions” starts immediately with a funky bass line and Papineau’s smoky voice.  After the initial awkward step, the album settles in its stride with expertly timed peaks and valleys of emotion.  Each track is a svelte bed of drum machine and synthesizer sounds overlaid by haunting vocals and quirky, catchy rhythms.  Through the 38 minutes, the music paces itself like a long con and nestles into your subconscious.  It rears its head at times like in “Old Blood” just to let you know it is still there, coloring in your day.  By the time the penultimate track, “Our Pleasant Home,” rolls around you realize Big Sir has snared you with their lo-fi groove and you are hooked.

The sounds of Before Gardens After Gardens are rich and funky, but are niche enough that it’ll be a tough sell for mainstream consumption.  On one hand, that is unfortunate because everyone should have a chance for Big Sir’s music to permeate their consciousness.  On the other, it gives me another fake award to hand out.

I love my job.

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