SPIDERLAND

If SPIDERLAND is the mother of all post-rock, then perhaps it is safe to assume the offsprings are more accomplished than their progenitors. The bands inspired by SLINT were able to deliver much more memorable post-rock moments, and due to that, SPIDERLAND's only quality is its historical importance. Because, musically speaking, it fails to be worth more than one-third of an hour.

I guess no one can deny SPIDERLAND is experimental and able to deliver an intensely gloomy, desolate, alienated atmosphere. Its recording sessions were filled with disturbing, nervous moments, and perhaps the music is a reflex of it. Conceptually, it's accomplished; a twisted materialization of SLINT's pure gloom and isolation.

Musically... not so much. It has shares of interesting and sincerely tedious moments, where the latter, sadly, is prominent. The first two tracks, as well as the latter, offer solid performances, eclectic variety of interesting and unusual guitar riffs and a technicality that hint its math-rock tendencies and explains SPIDERLAND's status as a landmark. However, from tracks three to six, the dominant stillness is just unnerving. Unnervingly boring, that is.

Music should be equally meaningful and enjoyable to make a good experience, but in SPIDERLAND, SLINT oversaturated the first at the expense of the latter. And the result, in the end, is a somewhat bleak release, with much potential that couldn't be satisfactorily conveyed, even though it does have its share of fine portions that depict SPIDERLAND could be something more.

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