SANGVAR
DAY “National Anthems” Review
by
Lionel Michael Leong (AKA
Mike Priest)
Published: 27th October 2016
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Sangvar Day Artwork by Gem Habito |
Formed in the slightly dusty year of 2012, this
decibel-smashing unit now consists of Italian, French and American
members who have become prevalent mainstays of the Phnom Penh music
scene. Initially conceived by Julian Bras (guitars) and Julien
Mariani (drums) - who both used to play for Alternative Rockers SONIC
DETERGENT - they have since been joined by Robin Narcisco (lead
vocals and guitars) and Ned Kelly (bass). Robin also handles the
dulcet string work in THE ACOUSTIC CRIMINALS while Ned lashes out
heavy rumbling tones for NIGHTMARE A.D. Former Sangvar Day bassist
Mathieu Ruillet played on the band's current album, before returning
to France once the recording was completed.
“National
Anthems”, the debut full-length album in question, is not their
first studio offering; the band first released their self-titled EP
independently in 2014. The 'Sangvar Day' EP gained ground with local
media and established themselves as a serious band intent on making
original music. Showcasing their eclectic tonal tastes and varied
influences, “National Anthems” is an ambitious and critical
step-up from the band's first EP in terms of songwriting and
production. These improved elements clinically shine through the
whole of the album, in parts reminiscent of prominent Alternative
acts and Post-Hardcore bands such as AT THE DRIVE-IN/THE MARS VOLTA,
MUSE, FUGAZI, PEARL JAM, THE PIXIES, INCUBUS, RED HOT CHILI PEPPERS
and TOOL.
Singer Robin Narciso rails and wails at Sharky Bar. Pic: Steve Porte
The album runs through a vertebra of odd-time
signatures, ghost notes, curious melodies and bursts of fuzz and
distortion accompanied by the tame droning of vocals which
calculatedly acerbate into haunting wails and controlled screams.
There are Progressive injections of old dirty Blues, Funk and Noise
into this mix which make this release strangely compelling amidst the
current albums of their international peers. There are parts which
accentuate minimalism in instrumentation, letting the vocals soar
above the roaring chords and through the intricate percussive work.
Listed below is a
preferential selection from the album track listing reviewed in
scrutinising descriptive detail:
SATELLITE
LOCOMOTIVE
“Locomotive” rolls out with the guitar employing pull-off/hammer-on techniques while the drums creep slowly in, an introduction that builds up as the drums crash down and the lead guitar starts wailing above the pulsating rhythm guitar and bass section. Vocals ensue thereafter, stylistically reminiscent of MUSE and THE MARS VOLTA. The vocals continue as the music “breaks down” like a broken marionette struggling to move, before returning to the pulsating rhythm section with well-layered vocals and reinforced guitars - much akin to the material from bands like TOOL and DEFTONES - before ending with the last haunting words: “you won’t survive”.
SATELLITE
The
entire first section of this track reminds me of THE PIXIES
(especially when the lead lines become apparent)... before the vocals
come in with a PLACEBO-like quality... before going for a
major-sounding chorus that brings to mind Jerry Cantrell’s (ALICE
IN CHAINS) solo work (especially on “Degradation Trip”). SANGVAR
DAY employ the use of verse and chorus once more before a more atonal
break occurs, transcending into an interesting polyrhythmic section
that highlights the song perfectly. The chorus then swaps in for one
last time and a surprise transition into a Metal section works very
well as a finale.
LOCOMOTIVE
“Locomotive” rolls out with the guitar employing pull-off/hammer-on techniques while the drums creep slowly in, an introduction that builds up as the drums crash down and the lead guitar starts wailing above the pulsating rhythm guitar and bass section. Vocals ensue thereafter, stylistically reminiscent of MUSE and THE MARS VOLTA. The vocals continue as the music “breaks down” like a broken marionette struggling to move, before returning to the pulsating rhythm section with well-layered vocals and reinforced guitars - much akin to the material from bands like TOOL and DEFTONES - before ending with the last haunting words: “you won’t survive”.
TRACE
This track starts
out in strong and anthemic style, in keeping with the album title.
The energy is maintained with short varying sections of minimalist
instrumentation and vocals which subtly interrupt, but draw the
listener back into the impactful sections. A transformation into an
interesting John Frusciante-esque progression occurs in the third
quarter of the song that ascends and then ends on several strong
notes.
BURN THE FLOOR
Clean acoustic tones dominate
the first section of “Burn the Floor” before the drums kick in,
leading at a medium pace into distorted chord work and frenzied
drum-rolls. Interestingly, the song then changes to a 90’s British
Rock progression of a RADIOHEAD/BLUR/SUEDE persuasion with
appropriate vocal accompaniment. The “heavy chorus” part repeats
with vocals this time that bears a more estranged tonal quality. The
song continues in a similar British Rock fashion as before, but
descends into a minimal breakdown with a guitar solo knitting subtly
over the rhythm section. A slow build-up back into the heavy chorus
ends the song fittingly.
NATIONAL ANTHEM
“National
Anthem” does not start off in a particularly strong way (a hint of
irony?), with MARCY PLAYGROUND-esque riffs alongside the drums and a
second guitar making sporadic bursts of noise. The vocals then come
in, following the structure of the riffs a bit too closely for my
liking. A short heavy break occurs before the introductory riffs and
vocal patterns appear once more: the result is anti-climatic but not
entirely unpredictable. Things start to pick up towards the middle of
the song with the drums building up to rolls, guitars emphasising
certain chords and vocals repeating certain phrases such as “enemies,
I feel my enemies” before fading and rising right back up again
with a short yet very balls-out Anthem Rock riff section. This
section then changes back to something similar to the introductory
riff - an “awkward but fun” approach which makes it memorable. A
wailing guitar solo and crashing drums then burst in - a climactic
return to entropy which ends the song.
Drummer Julien Mariani deploying some technical wizardry
SEVEN LIES
This
track starts out extremely well with a Blues-Funk hook and vocals
emerging with a purposeful tinge of the omninous. Accompanying
odd-time drums fire off like stop-motion animation which echo the
catchier tunes of what THE DILLINGER ESCAPE PLAN have to offer. The
chorus has a similar feel to the tunes of RED HOT CHILI PEPPERS
(before John Frusciante exited the group for a second time) -
repeating and interchanging with a short section that involves a
substantial trilling of the ride cymbal and staccato riffs. The
vocals display a desperate urgency before going into fast Punkish
passages interspersed with stops that are a very welcome addition to
the song, leading to a section of melodious singing before a
discordant breakdown occurs and the song ends with static noise and a
telephone operator speaking in Khmer.
Sangvar Day's
“National Anthems” is not a perfect album by any means, with some
noticeable flaws that prevent me from awarding full marks. However,
it is a meritorious culmination of roughly two years in the making, a
diverse testament to SANGVAR DAY’s hard work as a band. “National
Anthems” is a stellar full-length effort and a release that is
definitely worth spending your hard-earned dollars on.
– 8.5/10
MIKE PRIEST
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Mike at his record store in Singapore, Hell's Labyrinth - pic: Penny Torture. |