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The Pilot Ships, "The Limits of Painting and Poetry"
To anyone who wants to give Radiohead's "Amnesiac" the prize for mostdisparate, disconnected release of the century: "The Limits of Paintingand Poetry" has it by a longshot. This, the second release by The PilotShips, follows their brilliant 1997 debut album. It's familiarterritory for the Ships, as nothing here is really very shocking from asonic palette perspective. What's interesting is the variation of songstructure and instrumentation. It's as though, at times, the Shipscannot decide what kind of music they want to make. Piano starts thesong, but then it's interrupted by processed and delayed guitar. Andwhat is that buzzing, exactly? "The Limits..." is an amazing release,however, as each song, as disconnected as it is from every other on theCD, is a full and complete listening experience. For the most part it'scinematic in tone -- this release could easily be the soundtrack to afine movie about the dissolution of human relationships or the decay ofthe land around us -- and the combination of unrelated sounds is a joyto minnow through and pick apart. Listening to this release onheadphones is a special treat. A song like "Knotted," for instance, hasso many sounds present that when one appears, randomly, and is thennever heard again, you have to rewind the track and make sure it wasn'ta noise outside your window or in your room. Then the static fadesdirectly in to "Sides," the next track, but it's changed, somehow. Afascinating listen, and no one who hears it can honestly justify whyit's taken this long to release.
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