Hows that, you figure? Well, COCOBs taken instrumental post-rock where it needs to go by completely eliminating all the typical boring moments from their formula. Giving is a short album thats constantly barreling forward and never stalled out by a single breakdown or pause, ethereal jam session, or instrumental solo.
Even when the guitars, so effervescent and ubiquitous, drop out as they do near the end of Lawns, Jon Muellers drums take their place. Mueller marches along at the same steady pace while the band offers their vocals for once, oohing and ehhing in a funny, but compelling arrangement completely devoid of distinguishable words.
Chris Rosenaus guitar riffage is constant in the albums four movements, only finally terminating whenever a track is finished, usually playing much faster than when it began. COCOB have recorded, with a barrage of sunshine-through-water-sounding guitars and plinky-dink percussion and electronic instruments, the sound of a runners energy expended mid-race. He accelerates and occasionally decelerates, but is always moving forward in his trial for first-place glory.
Listening to Giving suggests that the band might have even rubbed off on Volcano Choir co-conspirator and fellow Wisconsin-scener Justin Vernons new sound in a good way. Perhaps their keen sense of accelerated pacing helped cut a path for two of Bon Ivers strongest tracks. While listening to this album, Im reminded of the cataclysmic bass saxophone girth of Perth and the carefully climactic arrangement of Holocene. So COCOB earns bonus points for giving (sorry) Vernon the influence.
This more-aggressive formula, toned with both radiant collapses and crescendos, makes for a great half-hour of listening that reaches for awe-inspiring heights and tremendous explosive sounds. Kind of like a fireworks display. Wait, isnt that what explosions in the sky are? Matt Carney