The latest release from Boston’s post-everything sound surgeons E finds new drummer Ernie Kim on the stool, bringing another variation to the trio’s constantly evolving sound.
Managing to do so much more with a guitar, bass, drums set-up, they push and pull in new directions, partly thanks to three very different songwriters and also due to the myriad of mysterious sounds wrestled from the guitar by Jason Sanford and his boxes of electronic trickery. It is a wild and at points uncomfortable ride, with three diverse vocalists stretching song structure into taut, complicated patterns, pummelling instruments and insinuating messages into eager ears.
Ironically, the opener, Jason’s “(Fully) Remote” sounds like he has taken offence at Queen‘s “We Will Rock You” and decided to kick it into a new century. The straight-ahead rhythm allies with Jason’s deadpan vocal, slithering over ear-piercing guitar squeals. It is a statement of harsh intent with diverse guitar patterns and Thalia Zedek‘s backing vocals a powerful combination. What is going on with Jason’s pedals, I have no idea, but it sounds as though somebody is being electrocuted.
The second track introduces Ernie and he has a smoother, more melancholic vocal which, considering the subject matter of death and loss, is no surprise. His voice flows with the rhythmic momentum although that, in conjunction with the car-crash drumming, points in a definite Chicago direction. There seems to be a greater reliance on Jason’s vocals compared to 2020’s Complications and that is part of their gradual evolution; but the interaction is still impressive considering Ernie’s recent recruitment.
There is an inventive and unexpected sound sculpture that separates the sides, and as the drums clatter and the guitar shrieks, amorphous sounds remind us that there is far more to this trio than meets the eye. The title track is a far slower and and more anthemic, with Thalia’s vocal a slow sunrise beset with threatening clouds. It crawls on, honking and groaning like an overladen cargo ship, its nine minutes a constant shimmer that is supremely at odds with the pulverising industrial grind of “Ash”. Putting these two side by side is a great move and adds to the continuing tension.
The messages seem harsh as the album rolls relentlessly onwards; they want to show us the way, helping us to see through all the bluster and false news, but can only do so with the kind of rhythmic intensity and sharp edges that can be dangerous to the uninitiated. There is also something so addictive abut the sound and the seething presence that, regardless of how bleak the message might be, you are desperate to press repeat and go through the process once again.Ernie’s presence has changed the sound of the band but neither for better or worse. This is a shape-shifting group showing us facets that were hidden until now, requiring a tweak of personnel to uncover them and set them on another path. E continues to grow in confidence and capability and Living Waters is an essential part of their lexicon.
-Mr Olivetti-
