As a music reviewer, sometimes a lack of words to describe the music is a problem. Especially when it concerns experimental music. The additional info can be a help, although most of the times it as linguistically vague as can be, and also pure commercial of course. Words as ‘atmospheric’ and ‘emotional’ are not much of a help because they can be very ambiguous.
For Kyle Dawkins this info was given: ‘The scope and breath of sound is turned inward, every motive and colour probed relentlessly. Tottery layers of space belie gorgeous melodic considerations within heavy skittering beatwork. This is rainy day sunny night music.’
Okay. Let’s start out with saying ‘Walls became the world’ is an elegant album. The intro breathes the same cinematic quality that most post-rock releases breathe, although this isn’t post-rock at all. A terribly sad but beautiful cinematic piece. That it isn’t post-rock is clear from the second track on. Most tracks are up-tempo, and not so sad as the prelude. ‘Heavy skittering beatwork’? Hmm, skittering is: to move rapidly along a surface, usually with frequent light contacts or changes of direction; skip or glide quickly. Yes, this music is skittering, although the rhythms are created out of dry, dusty beats instead of pounding techno-ones. The banjo is helping as well, idem beautiful fast guitar plucking. The melodies are well defined, and, as well as the rhythms, change direction, which makes the song structures varied and interesting.
Most of the times energetic, up-tempo music doesn’t evoke a cinematic feeling, but Dawkins managed to do it, with the banjo and the piano as his companions.
