It has been said that good art is supposed to disturb its audience; in other words, it is supposed to expand your comfort zone and introduce you to new ideas and concepts. So when you have music that is composed of alternate musical ideas and experimental instruments, it can be easily dismissed or even misunderstood, because it doesn’t have the typical characteristics we think of when we think of music. Many have questioned how to define music, but the most accepted definition amongst musicians and music appreciators is simple and generic. In four words, music can be defined as “organized sound in silence.”
Grant Evans recently debuted his newest album, Lacerations. The disc is a compilation of electronic, distorted acoustic music, creating an unsettling collection of sounds that to the unaware ear would most likely pass for mere static. The absence of vocals focuses the listener to decipher the instrumental phrases. There are many layers and textures that are created through different volumes, pitches, timbres and rhythms.
The album features seven numbers that seamlessly blend from one into the next. “Souvenir” is a 14-minute song that is surprisingly calming, contrasting it to the rest of the unnerving songs on the tracklist. The creepiest number on the record is the title-track, “Lacerations,” which features an interesting variation in pitches. On this song, you can hear underlying musical ideas that are generally more familiar beneath a layer of static-like sound. A great amount of texture and diverse sound depictions can be heard throughout “Horses Hours.”
To the active listener, Lacerations is like a puzzle to dissect and understand. If you are looking for an experimental album that will make you question and doubt music as you recognize it, then Lacerations is the perfect CD to push you out of your comfort zone. It is eerie, dark, and holds many layers of musical ideas to be appreciated.
In A Word: Incomparable
