2024-04-22 18:54:58
How wonderfully the respective covers represent the albums connected to each other: A Chaos of Flowers builds almost directly on the achievements of its predecessor, but blooms almost invitingly homely behind the dark horizon of Nature Morte.
The Canadians also declare this BIG|Brave themselves more or less and add about the content level of their seventh studio album: “Lyrically, the songs explore the most vulnerable of human experiences, how marginalizations manifest internally and externally, the inner struggles of isolation, and co-existence in nature. A Chaos of Flowers draws on catharsis and beauty as well as the quagmire of disorientation and othering. The album is a monument of simultaneous serenity and disquiet, a subtle maelstrom of internal life.“
Which adequately captures the self-assured and fragile grandeur of the record – where the frame of A Chaos of Flowers uses the same prairie as a contemplative landscape as Nature Mortethe external landmarks [auch ohne das Mitwirken der Gäste Seth Manchester (Synthesizer) , der Gitarristen Tashi Dorji und Marisa Anderson sowie Saxofonist Patrick Shiroishi] but moved from Dylan Carlson to Duke Garwood.
I Felt a Funeral awakens imploringly vulnerable at the drone’s campfire, the guitar scrapes barrenly into the porous, shimmering evening sky, ascetically sketching a patient noise slow motion, until BIG|BRAVE gracefully, as a buttery roller, warming the apocalyptically scorched earth in a folkloristic way. The power of intimacy and worn-out majesty create an approachable weight with powerful volume, a gentle doom variation of House of the Rising Sun trudges along stoically and invitingly.
Americana abstraction closes at the other end Moonset the arch – also as a reminder of all the virtues of the record: the drums act more reserved and cautious, the guitar playing (especially by Mat Ball) is simply brilliantly nuanced and multi-faceted, sound-wise overwhelming, and together with the poetic lyricism, the atmosphere and mood of A Chaos of Flowers a new niche in the cosmos of BIG|BRAVE revealing.
That itself Moonset rears up again at the end, but ends without an exhausting climax, but is also symptomatic of the work as a whole. In fact, the abrupt fade-outs of some songs are the only serious shortcoming of the best ones so far (because they are the most fascinating and imaginatively have the deepest impact, creating a fantastically entertaining flow). BIG|BRAVE-Record (which then leaves room for improvement by missing one or two unexpected, ingenious twists within the individual compositions).
Which speaks for itself in such a constant discography, but also the finely balanced dynamics and balance of A Chaos of Flowers Scatters flowers. Especially since, even if the view from the impressive overall work is selectively focused on the individual mosaic pieces, captivating scenes reveal themselves.
The stoic repetition of the sharp-edged monolith standing in a controlled storm Not Speaking of the Ways as a charismatic elemental force, for example, or if Song For My Shadow as featureless strumming drifts in the avant-garde ether to stagger beguilingly on the precipice of a free jazzy cacophony in bittersweet romanticism. Canon : In Canon is the wonderfully worn-out beauty of a gently mutating organism creeping on rusty velvet paws A Song for Marie Part III the ambient breathing of an elegiac interlude before Theft vaguely swarming around an infinitely elegant melody that never quite becomes tangible, like a hallucinogenic catchy tune, and the abrasive drone poem Quotidian : Solemnity actually means something like redemption for the band, which once chastised itself in Sysyphean monotony: “Elysian Field, dead in deep/ Oh to be, oh to be“.
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