Here We Go
21 January 2013
|Here We Go||Ost & Meyer||7:28|
Bogdanov & Porotkov left us too early. Everything they did here was gilded, or at least yellowish. These Ukrainians deserved their golden ticket to Vol 10, since we deserved to hear their swan song, olorine in so many ways.
The title is true. Here they go, & lo they went. & how! The piano is the second-best sounding instrument, & while some put it to a fine use, such as Thundercat by N&R, O&M rode it out like a dragon. HWG is another of the primal tunes, the wolfram on our Mendeleevian spread, a repetitive melody that explores not the keyboard, but the tendrils of the soul. As usual with these two East Slavs, their electrics are punctilious to the semidemiquaver, incinerating even the first second with a fiery, tropical bounce of raincoasterworks 2013 blazed away with all year. This bright party contrasts against the sombre reverse pulsar of the tune. The vocals eerily follow the chief banging piano into the cave to the centre of the mind.
Pianos are not usually used like this. Normally, they are dainty variators, skipping & flitting between different notes, up & down the octaves. Simple, raw, volcanic passion is not what pianos are typically used for, which is one of the many laurels that drown this paean to energy. B&P should return.
Each metallic lick of the notes is another step into the thick slime of grief that HWG oozes. The repeating instils & radicates the thallic, leadening chills, dropping off into a Newmont Boddington carved with spades of anger. Each slope perfectly hits that sweet drop of a song needs to.
The structure is very strange. After the climax, there's a climaxless encore, with just a half-minute of ethereally haunting & spectral motion, the same tune without the TNT to rip it up. This kind of ghostly alternation needs to happen more.