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1 Mile North, "Minor Shadows"
Ba Da Bing!
Often, what is said only complicates matters, and what can be seen orshown carries more weight, especially when it is expressed in athoughtful way. Minor Shadowsplays like the accompaniment to a film or documentary, but instead ofthe music enhancing images and ideas that it is purposefully coupledwith, here they conjure those images themselves. Their long pieces arecomposed and arranged as if with a cinematographer's eye; each note orpluck positioned to lend the scene the proper depth, the most vividillumination or the right shading to reveal the finest details thatgives the image, whether visual or aural, the greatest sensual impact.The patient, lingering guitar strokes of "In 1983 He Loved to Fly"seize upon implications of the title's past tense verb. It creates afeeling of watching someone living out a memory, staring at a gray skyas the warmth of the guitar plucks hovers while the accompaniment fadesaway leaving it alone and precariously aloft, unsupported. The chordstroke fades, only to return just as intensely before repeating itsreminder again and again. 1 Mile North finds that subtlety andrestraint can be virtues and employs them throughout Minor Shadows,never lapsing into indulgent tedium, but finding a comfortable nook inwhich to base their songs before they move outward. Their progressionis not explosive, nor is it fiery. The tension and presence is feltlike heat from a radiator, filling the room in waves. "The Sick" beginswith a simple strum, different from the preceding songs in that it issomewhat more ragged, more percussive in its strike. Sampled drums hitscrop up intermittently as keyboards rise and fall around giving aneerie mood to the piece. Finally, the strum unfurls into a melody thatreleases the anxiety it initially presented, not by speeding up orsnarling out but simply elaborating on the plot. In this sense, asingle hushed word is worth a thousand shouted ones. This dichotomyappears almost literally on the next track, "Black Lines," whichfeatures a film sound clip of a father viciously berating and verballyabusing his son. In response, 1 Mile North plays along with theirpatient track as if assuming the point of view of the victim of theclip. Their music finds both the fear of the situation but in itssteady keyboard melody it also implies an almost triumphant resolve.The clip adds a wonderful tension to the track, and provides anexcellent foil for 1 Mile North to converse with. This dialog serves asan argument, the fury of the actor mingling with the music, and yet forall the histrionics he flings, he is unable to unsettle it. It is amoment of insight where Minor Shadows proves that quite a bit can be said or shown when care and consideration is taken to crafting an intricate scene.
Often, what is said only complicates matters, and what can be seen orshown carries more weight, especially when it is expressed in athoughtful way. Minor Shadowsplays like the accompaniment to a film or documentary, but instead ofthe music enhancing images and ideas that it is purposefully coupledwith, here they conjure those images themselves. Their long pieces arecomposed and arranged as if with a cinematographer's eye; each note orpluck positioned to lend the scene the proper depth, the most vividillumination or the right shading to reveal the finest details thatgives the image, whether visual or aural, the greatest sensual impact.The patient, lingering guitar strokes of "In 1983 He Loved to Fly"seize upon implications of the title's past tense verb. It creates afeeling of watching someone living out a memory, staring at a gray skyas the warmth of the guitar plucks hovers while the accompaniment fadesaway leaving it alone and precariously aloft, unsupported. The chordstroke fades, only to return just as intensely before repeating itsreminder again and again. 1 Mile North finds that subtlety andrestraint can be virtues and employs them throughout Minor Shadows,never lapsing into indulgent tedium, but finding a comfortable nook inwhich to base their songs before they move outward. Their progressionis not explosive, nor is it fiery. The tension and presence is feltlike heat from a radiator, filling the room in waves. "The Sick" beginswith a simple strum, different from the preceding songs in that it issomewhat more ragged, more percussive in its strike. Sampled drums hitscrop up intermittently as keyboards rise and fall around giving aneerie mood to the piece. Finally, the strum unfurls into a melody thatreleases the anxiety it initially presented, not by speeding up orsnarling out but simply elaborating on the plot. In this sense, asingle hushed word is worth a thousand shouted ones. This dichotomyappears almost literally on the next track, "Black Lines," whichfeatures a film sound clip of a father viciously berating and verballyabusing his son. In response, 1 Mile North plays along with theirpatient track as if assuming the point of view of the victim of theclip. Their music finds both the fear of the situation but in itssteady keyboard melody it also implies an almost triumphant resolve.The clip adds a wonderful tension to the track, and provides anexcellent foil for 1 Mile North to converse with. This dialog serves asan argument, the fury of the actor mingling with the music, and yet forall the histrionics he flings, he is unable to unsettle it. It is amoment of insight where Minor Shadows proves that quite a bit can be said or shown when care and consideration is taken to crafting an intricate scene.
