To grossly oversimplify this sublime album (and I’m talking the true meaning of the Sublime, check out Edmund Burke if you enjoy elitism), there are some quiet bits and there are some loud bits. The main difference between 65’s employment of one of music’s most hackneyed structures is that the individual parts are so gorgeously constructed that there is no jarring chiaroscuro between crunch and cream, but what feels like a single, cohesive ribbon running from start to finish.
Of course there are moments when the swaying rhythms crash into broken stops, like the gloriously evocative opener ‘Drove Through Ghosts To Get Here’. The pulsing dance beats collide with what could be termed as ‘post punk’ but taken simply, this is just fantastically well coordinated noise. Comparisons could be drawn with Bogdan Racynski’s ‘Samurai Math Beats’ but 65 move into their own blueprint as they implement breakbeats alongside power chords and frenzied computer beeps next to understated piano riffs. Put simply, this is some orchestral shit right here.
Arguably the most fascinating aspect of ‘One Time…’ is its accessibility. Even though the symphonic melodies have their build-ups and their codas there is always a melody waiting to spring out. ‘Await Rescue‘ and ‘Radio Protector’ gently seep around your shoulders before pushing yet another thrilling descent into madness onto you. The imaginary soundtrack to the best film you could ever see, ‘One Time For All Time’ is a work of art, and one that keeps on sharing its beauty. There might be comparisons to other artists but they remain spurious at best – 65’s clusterfuck of electropunkpostcoredancevibestuff not only deserves your attention because its bold and exciting, but because it’s a better album than 99% of what has been released this year. And that’s not opinion, that’s fact.
Ben
www.65daysofstatic.com
www.monotremerecords.com