I remember running across Elephant (Pele's second album) in a record shop in Louisville. I was mostly into the cover art, but soon remembered this was a Promise Ring related band. Promise Ring (this is a tangent) have always been a funny band. Our (the Promise Ring and I's) relationship has never been a very good one. I've never liked the Promise Ring, but the majority of the Ring's related projects have been enjoyable. So that's where I stand on a band who really has nothing to do with the rest of the review. I guess it's worth pointing out that with the album Elephant they were still a Promise Ring related project, but now they're not.
So now they're not and let's see how it all works. Elephant was a masterpiece of slightly fractured, heavily jazz influenced instrumental rock and roll. It tended to roll along at a stately pace more than rocking though. Fast forward some years and we have Enemies. For one, the layout is gorgeous, I could tell from flipping through the book that something was different this time around, the artwork is all hand drawn sketches of bottles, faces, naked men, etc. It's really well put together and I think the layout of a record is important. So score one for the instrumental kids.
The other thing I noticed in the layout was the curious addition of one of the most exciting instruments in existence right now. That's right, Jon Minor is the new kid and he's listed as playing the tambourine, which is amazing because I've always had a soft spot for that usually round, cymbal-laden percussive instrument, and the computer. The computer is a completely new addition to the normally organic sounds of Pele. I have some bias towards the computer as it's the only "instrument" I play and because the majority of the music I really like is either directly from the computer, or is the computer's output of processed sounds. Even with all that, I was leery. With the computer in such vogue these days it's easy for a band to grab some kid with a powerbook and some programs and voila! Now they're all up-to-date with the addition of some computer squiggles. The computer, like any other instrument, has to be used properly. So I was anxious to hear what Pele did with Minor's computer. They really were a great band doing just what they normally do, all bass, guitar and drums riffing on jazzy passages for 45 minutes or so.
So the record starts with one of the best opening tracks in recent memory. Crisis Wins starts with syncopated drums and claps. This goes on for some minutes only to be joined by Jon Minor's computer manipulations. Well, it's not even five minutes in to the album and Mr. Minor and his trusty computer have actually made this little album-world a better place. Soon the guitars appear and Pele do their magic, playing competent post-rock (read : instrumental music) of the jazzy sort.
The stated focus of this new outing was a solidification of "Pele's interest in straight up rock." I've read other places as well that the band was going for a more "rockin'" feel this time around, eschewing the somewhat esoteric qualities of the earlier albums for a more accessible, yet no less interesting product. Well kids, I'm here to say they've pretty much done that.
The addition of Minor and his computer have helped them churn out a gorgeous record full of catchy and memorable instrumental music that just flirts with electronic manipulations. The best parts for me personally are when Minor's computer is allowed to sit at the head of the class. "Hooves" is my favorite track and unfortunately it's also one of the shortest. The track starts with a minimal hum and is soon joined by a steel acoustic guitar giving it that perfect western feel. Minor's gorgeous shifting tones are slowly but surely pushed up in the mix as the ever-present glitch starts to take over. Minor's tones shift and slither all around the guitar until the final minute or so, where an understated bass-y beat sort of whispers itself into the song. It's a simple track, nothing explosive or jazzy, but Minor's computer and guitarist Chris Rosenau's slowly picked guitar combine to produce beauty. It's the power of music, for 3 or so minutes to transport someplace where all I see are the notes around me and where all my attention is on the tones and notes being played and created. Now, to be honest this track is somewhat of an anomaly. "Super Hate" is equally as slow and gorgeous, with Minor taking the lead completely. The whole thing is all slow glitches and slight clicks building towards nothing, just meandering and wandering around for two minutes in the most subtle and beautiful of ways. These two tracks though are the only ones of this sort.
The majority takes after "Crisis Wins." "Hummingbirds Eat" totally calls to mind the frantic flight of hummingbirds and "Safe Dolphin" is as playful and intelligent as the name would suggest. Minor's computers even have a big role in the latter of the two just mentioned. The track starts with cymbal manipulations and the guitars seemingly trying to figure out what to play, only to finally find what they're looking for. All start simultaneously including the cowbell only to fade a minute or two later. The rest of the track is an easygoing swim, a quietly meandering track both comfortable and exciting. Until the last bit comes and Pele remembers to bring the rock, complete with a background scream.
So yes, this record is extremely good at what it does. Instrumental music is best when it can be ignored, but at cost. You could just put this record on and I'm sure you'd enjoy it, but the real enjoyment comes when you truly listen. Minor's additions are invaluable, easily the best part of this album. Minor's computer helps take this record to places Pele were never capable of going before. He seems to have given a slight push and the other kids responded in turn, churning out what might be their best. (It's on Polyvinyl for those who were wondering.)
B
