Grayceon, IV: The Slow Burn

grayceon iv

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It can be difficult when you feel an attachment to a record to accept a group’s “next one.” As I put on the Can I pay someone to review. Yes, hire us to earn the perfect grades for your homework assignments. Translation Loss-released visite site Online Programming Homework Help DO MY COMPUTER SCIENCE HOMEWORK INTRODUCTION When that language is one that drives a IV — obviously named after the check it outs from just anywhere online and you might not be happy with the results. You need to order essays from a service with professional writers. Goatsnake LP (that’s a joke) — and began to make my way through opener “Sliver Moon” at the outset of an eight-song/40-minute course that moves swiftly and gracefully between head-down thrash intensity spacious post-heavy and doomed march, my concerns were as much soothed away as they were set on fire. Seven years hence (though to be fair, they had the Receive http://www.voujeaucourt.fr/?film-studio-business-plan from me, Ethan Sawyer the College Essay Guy, and my expert team of college essay coaches and advisors. Read about my Pearl and the End of Days EP in 2013 as well), Grayceon has returned with an album that justified the expanse of time it took for it to arrive — a blazingly progressive offering of dare-you-to-keep-up complexity that changes tempos and methods while landing memorable hooks in “Scorpion,” “Let it Go,” “Slow Burn” the closer “Dreamers” while remaining atmospheric in both its moments of intensity and slower marches.

For Jackie Perez Gratz, it’s an utter triumph of performance almost immediately. “Sliver Moon” establishes her as the driver of much of the melody throughout, and she drives counterfigures off Doyle‘s chugging riffs and meets him to join forces on winding transitional lines in a way that makes IV seem absolutely woven. The percussion opening “By-the-Wind Sailors,” handled by Pearl and Pepper Gregory in addition to Farwell sets a tense bed for the sustained cello notes and plucked guitar notes, and with a scream as it approaches the midpoint, the song bursts into one of the album’s most extreme moments, with frenetic blasting from Farwell and likewise speedy guitar and cello to match.

The lines, “We’ve had our time/Time of our lives/We’ve had our time/You and I” sound in context as though they could apply as much to a personal relationship as to that between the human species and the planet on which we live, and the chorus sprints through again before Grayceon settle into a gallop and crash into a momentary respite before the thrashing resumes to close out and lead into the immediate start of “Scorpion,” which finds a middle ground in its early going between the two sides that “By-the-Wind Sailors” seemed to offer; the cello-led metallurgy and the sections more concerned with ambient breadth and melodic storytelling.

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Upon reaching the three-minute mark, the track stops and shifts into a doomly march that carries it outward with some shifts of cello and melody. Cello as the last remaining element gives way to the quiet open of “Let it Go,” which might serve as the standout track on IV with its likewise slower march, patient delivery and memorable chorus, screams directly contradicting melodic vocals in representation of an inner emotional struggle — “let go” vs. “don’t let go” — as it relates to love itself. A mournful cello line picks up after the final chorus and leads the way out to silence and the fast, intricate picking from Doyle that begins side B with the quick intro to “Slow Burn.”

It’s here and in songs like “Dreamers” still to come that Grayceon show how dynamic they can be, not only writing one kind of song or another, loud or quiet, claustrophobic or spacious, but in putting tempo contrasts smacked against each other in a single piece. “Slow Burn’ opens from its galloping start to a crashing stomp that’s one of the record’s most fervent, and a verse that sets the stage for a slower, richly melodic apex topped with the lines, “What if you knew what you know now?/What would I have said to change your mind?/What if you knew what you know now?/What do you have to say?” that repeats with slight changes in the words but is beautiful and sweeping and painful all at the same time, cutting to an immediate, companion-feeling run of toms to start “The Point of Me,” which exhibits a depressive hopefulness in its melodic verses, and in just over three minutes, puts forth a prog-metal chug of deceptive complexity that cuts to silence as a line of sweet guitar and soothing cello start the penultimate “Pink Rose,” the vocals begging “Please mama, take me home” with subtle background voices behind the sweet and sad forward melody; the most soothing moment on IV, if still somewhat emotionally desperate.

At 2:31 and marked by its lyrical repetition, “Pink Rose” is the shortest track on IV and it gives way to silence before the angular guitar line opens “Dreamers” punctuated by drums and cut through by the cello before the three come together to charge ahead into the first verse. It will get slower as it moves toward its finish, but the crescendo of “Dreamers” happens after a long-held vocal note and the line at 4:21 “we are dreamers,” that winds down at the end like a tape running out before the guitar lurches back in to lead the cello and drums through the the last double-kick march. This instrumental progression consumes the last two minutes of “Dreamers” and ends on a long fade but a not-at-all overdone sense of fanfare.

Certainly Grayceon could’ve put one last burst into IV, but by ending as they do — dug into a groove, all three players putting in clear physical effort but not overselling it — makes IV less about any single moment and more about the affecting listening experience of the album as a whole. “Dreamers” is no less successful in this than is the entirety of IV in conveying its emotional and aural range. Seven years after All We Destroy, which seemed to mourn an entire generation’s war, IV comes through as more personal, but whether they’re looking outward or inward, Grayceon‘s work remains both poised and deeply human. I’ll look forward hopefully to whatever they do next.

Grayceon, IV (2018)

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