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A SILVER MT. ZION

Post Rock/Math rock • Canada


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A Silver Mt. Zion biography
Originally formed by GODSPEED YOU BLACK EMPEROR guitarist Efrim Menuck, bassist Thierry Amar and violinist Sophie Trudeau, A SILVER MT. ZION was formed as a vehicle for Efrim to explore his own musical ideas. The group has since expanded to a seven-piece, and play a slow, brooding style very simmilar in feel to the band from which they were spawned. At the same time however, their sound contains more of an experimental edge and less of the ear-splitting climaxing that has defined GYBE. They also feature vocals from Efrim, a characteristic not usually seen in bands of this style.

Their name varies slightly on each album, releasing their sophmore effort "Born Into Trouble As The Sparks Fly Upward" under the name THE SILVER MT. ZION MEMORIAL ORCHESTRA AND TRA-LA-LA BAND, adding "WITH CHOIR" to that name for their third album "This Is Our Punk Rock", releasing "The "Pretty Little Lightning Paw" E.P." under the name THEE SILVER MOUNTAIN REVERIES, and reverting to THEE SILVER MT. ZION MEMORIAL ORCHESTRA & TRA-LA-LA BAND for 2005's "Horses in the Sky".

Their best album is generally considered to be their debut, 2000's "He Has Left Us Alone But Shafts of Light Sometimes Grace the Corner of Our Rooms".

See also:
- Fly Pan Am
- Godspeed You Black Emperor!
- Set Fire To Flames
- Valley Of The Giants




Why this band must be listed in www.progarchives.com :
They present simmilar ideas as Godspeed You Black Emperor in a different (and sometimes more conventionally progressive) form, and are generally regarded as one of the major post-rock bands.



Discography:
He Has Left Us Alone But Shafts of Light Sometimes Grace the Corner of Our Rooms, studio album (2000)
Born Into Trouble As The Sparks Fly Upward, studio album (2001)
"This is Our Punk-Rock," Thee Rusted Satellites Gather + Sing (2003)
The "Pretty Little Lightning Paw" E.P. (2004)
Horses In the Sky (2005)

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He Has Left Us Alone But Shafts of Light SometimesHe Has Left Us Alone But Shafts of Light Sometimes
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A SILVER MT. ZION discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

A SILVER MT. ZION top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.96 | 82 ratings
He Has Left Us Alone But Shafts Of Light Sometimes Grace The Corner Of Our Rooms
2000
3.72 | 54 ratings
Born Into Trouble As The Sparks Fly Upwards
2001
2.95 | 33 ratings
This Is Our Punk-Rock, Thee Rusted Satellites Gather + Sing
2003
3.89 | 66 ratings
Horses In The Sky
2005
3.70 | 55 ratings
13 Blues for Thirteen Moons
2008
3.60 | 28 ratings
Kollaps Tradixionales
2010
4.06 | 22 ratings
Fuck Off Get Free We Pour Light On Everything
2014

A SILVER MT. ZION Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

A SILVER MT. ZION Videos (DVD, Blu-ray, VHS etc)

A SILVER MT. ZION Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

A SILVER MT. ZION Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.27 | 19 ratings
The Pretty Little Lightning Paw E.P.
2004

A SILVER MT. ZION Reviews


Showing last 10 reviews only
 He Has Left Us Alone But Shafts Of Light Sometimes Grace The Corner Of Our Rooms by SILVER MT. ZION, A album cover Studio Album, 2000
3.96 | 82 ratings

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He Has Left Us Alone But Shafts Of Light Sometimes Grace The Corner Of Our Rooms
A Silver Mt. Zion Post Rock/Math rock

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars What we have here is a funeral album although it sounds more like a holocaust soundtrack not just dripping but flooded with melancholy and lucid lugubrious lament. A SILVER MT ZION is a side project of the masters of apocalyptic soundtrack skills Godspeed! You Black Emperor and believe it or not was created solely as a one album project by Efrim Menuck who was morning the death of his beloved dog Wanda. While the Godspeed! main project had a sort of continuity in their releases, Efrim wanted to branch out a bit and what better way than to construct a musical eulogy for your best friend. Yep, the universe's cruel joke is that your beloved pets become as close as your own children but have the lifespan of the average $100 American bill.

The irony was that through the death of a precious departed one, new life sprung from the ashes. This one shot project has become a wise career move that has far surpassed the original Godspeed! project's number of releases. While this debut album is credited to A SILVER MT ZION, Efrim followed the Sun Ra approach when he renamed his notorious Arkestra every album or two just to keep things interesting ie The Sun Ra Arkestra, Sun Ra and His Astro-Infinity Arkestra, Sun Ra and His Myth-Science Arkestra, Sun Ra and His Intergalactic Research Arkestra. Thus a new band was born after the popularity of this tribute to Wanda was released and the A Silver Mt Zion would evolve into The SILVER MT ZION Memorial Orchestra & Tra-La-La Band, The SILVER MT ZION Memorial Orchestra & Tra-La- La Band With Choir and so on and so forth.

While this release is lumped into the general post-rock category this is much more a percussionless parade of chamber music that is simply vocals, guitar, bass, piano and violin. The music is haunting and chilling and the closest thing that comes to mind when i hear this is the soundtrack to "Schindler's List." There is absolutely nothing uplifting and warm and fuzzy going on here. These notes flow together in a way that stabs you in the heart and twists the knife until you simply break down in utter agony and despair. Only the pain of losing a loved one could allow a composer to achieve this effect with such minimal instrumentation. This is one of those albums that i love but choose not to listen to on a regular basis because of the heart wrenching effects of violin tremolos, vibratos, arpeggios and sonic appoggiatura.

I, like many, prefer the albums that follow as they become more artistic and put the rock back in the post-rock, but this album serves a purpose and that purpose is magnificently achieved. The emotional flow of this album is haunting and evokes poignance and bereavement like few other musical works can. I can feel the extreme sense of pain and loss of love in every note on this one as it musters up some incredible dregs of dejection and execution of exuberance. It also makes me want to hug every loved one in my life and hold on dearly for i know the insufferable fate of separation will inevitably touch us all eventually. Sigh. Great album. Difficult subject matter.

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 Horses In The Sky by SILVER MT. ZION, A album cover Studio Album, 2005
3.89 | 66 ratings

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Horses In The Sky
A Silver Mt. Zion Post Rock/Math rock

Review by TCat
Prog Reviewer

5 stars This is the first SMZ album that has singing on every track. It is also, for the most part, the most subdued of the albums. It seems that it might have been a tough one for the fans to get at first, but it is a grower, and a lot of that has to do with the vocals. That is the biggest issue for the band, but in my opinion, the vocals match the music perfectly. SMZ's biggest attraction for me is their vulnerability that not only exists in the shaky vocals, but also in the orchestration of the instruments. There is always a slight hesitation in the delivery, or so it always seems, especially noticeable on this album because it is softer. Don't get me wrong though, there are bursts of dynamics throughout. You still get the builds on some of the songs. But other tracks don't build much at all, as in the title track.

"God Bless Our Dead Marines" is the opener and a great highlight in the band's career. It is a multi movement epic track with several melodies that vary in dynamics and tone. This is a beauty of a song and it ebbs and flows and eventually the vocals interweave around each other into a round of sorts. Next is another excellent track called "Mountains Made of Steam" which is based around a more focused theme, but still caries a lot of variation in it. This eventually builds to a harsh climax that utilizes dynamics and dissonance quite beautifully. "Horses in the Sky" is a more acoustic endeavor and remains quiet and thoughtful throughout, but is no less powerful. Eventually, some ambient texturing joins in, but never really takes over the intimacy of the track.

"Teddy Roosevelt's Guns" is follows a typical post rock formula and builds slowly to a final climax and a repeated line. "Hang on to Each Other" was actually recorded by the band around a campfire. You can hear the flames crackling in the background. Talk about a feeling of intimate music. You can close your eyes and picture yourself there listening to the band. The song starts out soft and the vocals build as other vocal lines are added, some wordless vocals and the repeating of the title while Effrim sings the verses. All the while, strings are played in the background to a structured tune. This eventually even drops out leaving the band singing their parts a cappella. The last track is another epic of beauty and dynamics, again with changing melodies and rhythms.

The vinyl is a piece of art, as is the case with most of SMZ's (and Godspeed You! Black Emperor's vinyl) and this is why I prefer to get their recordings in vinyl. On this one, there are only 3 recorded sides which contain all of the tracks. Instead of leaving the 4th side blank however, they commissioned an artist to do an etching into the vinyl. It is artwork of a bird and some branches. This is another way of expressing their artistry and intimacy with their listeners. It really gives the record a personal feeling between the listener and the band. Even though I know the band doesn't know me over any of their other listeners, but these things make me feel like they do, and the unique things they add to their albums make me feel a personal closeness to their music like no other band can do.

Many complain about Effrim's vocals being hard to listen to, but they have always been one of the things about the band that attracts me to them. He sounds like he is singing right to you, in your living room as you listen. He is a very passionate singer too, and the limitations of his voice can show through when he is the most passionate. These things make me love the music even more.

It's true that this band isn't for everyone, but everyone should at least give them a fair chance before deciding whether they like the music or not. The best music always takes time to grow on you, and I find my favorite albums are usually the ones I didn't understand at first, or they took time to grow on me. This is one of those albums. I think it's a masterpiece, not only of music, but of art in general. The lyrics are poetry, the music is original and dynamic, and the medium is taken to it's furthest to portray other forms of artistry, the album covers, the inserts, the little surprises that are included. It all works as a whole on this album, a those things make it the masterpiece that it is. 5 stars.

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 He Has Left Us Alone But Shafts Of Light Sometimes Grace The Corner Of Our Rooms by SILVER MT. ZION, A album cover Studio Album, 2000
3.96 | 82 ratings

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He Has Left Us Alone But Shafts Of Light Sometimes Grace The Corner Of Our Rooms
A Silver Mt. Zion Post Rock/Math rock

Review by TCat
Prog Reviewer

4 stars While touring with Godspeed You! Black Emperor, Efrim Menuck's dog died, and this was the first step in A Silver Mt. Zion's birth. Efrim wanted to create this sad music and dedicate it to his dog, but the music was too sad and quiet for the typical sound of GY!BE, so, with the help of two other band members, he wrote and created this record as a single album project which ended up turning into his main project after the temporary breakup of GY!BE. Through the years and albums released as ASMZ, there were a few minor name changes and extensions, but the band grew larger and the music became more expansive and at times, experimental.

This first album however, is very sad and quiet with very few vocals. There is a heavy reliance on violin and very little percussion on this album, it is very pensive and reminiscent. Though not a minimalistic album, it definitely moved away from the dynamic and sometimes loud sounds of GY! BE, but retained a lot of the exploration that was present in that band.

Some reviewers consider this album too slow moving, and it is true to some extent. But the music is haunting and beautiful. The use of piano and strings give it a chamber feel, but the occasional use of guitar and a few stronger passages help the listener to have a little foresight into where the sound was going to develop.

"Broken Chord Can Sing a Little" starts off with a lovely piano introduction with a little build and addition of a few other sounds, then in true GYBE fashion, there is a field recording introduced which seems to be a discussion about death and religion. The sound is a bit apocalyptic, which is not really a surprise, but instead of brashness, we get beauty, though there is a degree of harshness here. "Sit in the Middle..." segues from the field recording and starts to build on a repetitive sound, again some build happens, but not to any extent of the usual post rock climax. Repetition is again used in the lovely "Stumble then Rise..." but this time the motif is expanded into variations as the music continues and this improves the song as it goes on. This is an excellent track and very lovely.

On the next track, we get to hear Efrim sing for the first time. At first listen, his voice is a little brash, but that is what you can expect through the discography to come. The nice thing about his voice to me is it's vulnerability which makes this music so believable and organic. It all works well and if you are familiar with the other works by ASMZ, then the appearance of vocals is actually quite welcome. This is a short piece, yet quite nice. "13 Angels..." is the bright light of the album mentioned in the album title, and is a more positive sound, the music at this point and through most of the rest of the album is more developed and not so repetitive. This carries through "Blown Out Joy", the overall quietness of the album persists with a little build here and there, but to me, it never really gets boring, it is thought inspiring and pensive.

The last track is "For Wanda" which is the final cap to the dedication and the final good-bye to his companion. It is a return to the sadness that was present in the first part of the album, but this time it seems like it is acting as a release, a final release to his dog. It might sound somewhat silly to some people, but his heart is definitely in this music and it is quite a moving tribute.

Though not as developed or as well constructed as later albums, this is still an excellent album. Maybe it's not a masterpiece, but if you are looking for sad and emotional music without a lot of rhythm, then this is a great example of that. Reminders of GYBE are scattered throughout the album and foresight into what was to come are also throughout the album, but it definitely isn't lively, just slow and beautiful. Like I said, the composer's heart is in the music and you can't go wrong when that happens.

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 Fuck Off Get Free We Pour Light On Everything by SILVER MT. ZION, A album cover Studio Album, 2014
4.06 | 22 ratings

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Fuck Off Get Free We Pour Light On Everything
A Silver Mt. Zion Post Rock/Math rock

Review by TCat
Prog Reviewer

5 stars Just when other post rock bands latch onto the sound and formulas used by Thee Silver Mt. Zion, they change things up. Having left behind the traditional formula of slow crescendos to loud climaxes, TSMZ now jumps into their individual tracks full force and utilize dynamics in different ways than they did in their earlier years. You don't have to wait for the build up anymore. Now you get a thick wall of their rock orchestral sound starting right off at the beginning of the track with more reliance on the heaviness of guitar, strings and percussion with the occasional stripping back to expose the base of the music only to quickly build back up again, sometimes with a direction change. This is becoming less like the usual post rock that we are used to and branching out into other directions by adding a punk-ish sound and attitude (Efrim's vocals lend themselves well to this punk sound) while keeping the tracks well fleshed out and original.

There is so much music going on here, and the streamlining of the band members have given the band a more focused sound than previously. The vocals, while still sounding desperate and vulnerable are also more confident sounding. The instrumentals are more expansive and broad even with the smaller band. The 1st track "Fuck Off Get Free (For the Island of Montreal)" sets the stage for the atmosphere of most of the album with a heavy sound without much of a break from the thickness in the sound. The change is more in the melody and the direction of the song which goes from a harsh sound to a beautiful yet still heavy sound about halfway through. Suddenly, you know what kind of sound to expect on this album. The 2nd track "Austerity Blues" is the centerpiece of the album. It is a track that remains heavy for the most part, but when the noise is stripped away, you are left with the base of the song that you tend to enfold yourself into immediately when this sparseness starts and then suddenly you find yourself wrapped up into the noise when it builds back upon itself, and you are trapped inside. The next time it happens, you think it's time to escape, but you are drawn in further and before you know it you are trapped again.

Two shorter tracks follow with "Take Away These Early Grave Blues" which is a less developed track that follows a constant rhythmic pattern and the beautifully quiet "Little Ones Run" which acts as a break from the noise for a few minutes with a female duet and a piano, which lulls you into what I consider the best track on the album "What We Loved Was Not Enough". This track has the best and most diverse use of dynamics which keeps the same style of singing but with beautiful harmonies by the background singers and an ever changing moody epic track. This one probably is more reminiscent of the older material, but it still manages to stay away from the tired old formulaic post rock sound and ventures out with as much confidence and impact as the louder tracks. The last track is another short one which starts out as what sounds like a field recording of possible an interview and adds in vocals, percussion and a certain ambience to close out the album on a softer side.

This is post rock doing what it's supposed to do to be considered progressive, that is, it's progressing. Yes, I still consider it Post Rock, but it's exploring new avenues and staying away from the usual sound. The tracks all have vocals, which is the first welcome change from post rock, but not really different for the band who actually started out as completely instrumental and as most prog heads know, branched off from Godspeed You! Black Emperor when they went on hiatus (which is now over and both bands are alive and well). GY!BE continues to show it's power through instrumentals and drones while ASMZ continues to push forward with a reliance on more focused vocals and the modern day noise/orchestral sound. Both bands are amazing and continue to pump out quality work even after more than a decade, progressing their sound and exploring new avenues. A lot of prog lovers may have a hard time with Efrim's vocals, but the vocals fit right in to the dissonance and beauty of the music. I can't imagine any other vocal sound that would go along with this music. I can't help but think of this as a perfect example of what post rock should be doing, developing their sound and not relying on the old formulas. Because of this, the band still puts out essential masterpieces and demonstrate the direction that progressive music should be taking.

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 Fuck Off Get Free We Pour Light On Everything by SILVER MT. ZION, A album cover Studio Album, 2014
4.06 | 22 ratings

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Fuck Off Get Free We Pour Light On Everything
A Silver Mt. Zion Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars For this latest release, A Silver Mt. Zion revitalise their sound by adding some brash, energetic, punkish noise rock into their post-rock formula. With Efrim's wailing buzzsaw guitar and his fragile, plaintive vocals front and centre, it's a logical development of the group's sound (indeed, a subfaction of the gang already took the noise punk route to an extent on the Pretty Little Lightning Paw EP), and on balance whilst the album doesn't take their music to a whole new level or reach the heights of their debut or Horses In the Sky, it's a more than credible addition to the group's discography.

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 Fuck Off Get Free We Pour Light On Everything by SILVER MT. ZION, A album cover Studio Album, 2014
4.06 | 22 ratings

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Fuck Off Get Free We Pour Light On Everything
A Silver Mt. Zion Post Rock/Math rock

Review by Gallifrey

4 stars Dark Shrieks From the Insane Asylum

I'll admit, I've never really paid too much attention to A Silver Mt Zion in the past. I've always been distracted by their overtly pretentious band names and album titles, as if they were fulfilling the horrible post-rock cliché so perfectly, by walking in the wake of Godspeed as closely as possible. I remember hearing "This Is Our Punk-Rock," Thee Rusted Satellites Gather + Sing, a while ago, and honestly not thinking much of it as a record. Although, to be honest, the problem with a lot of post-rock records is how they flow through one ear and out the other in a wave of "this is nice", and you can't really remember much about them. Although I distinctly remember, in relation to This Is Our Punk Rock, that I much preferred Mogwai's corresponding 2003 record, Happy Songs for Happy People, although the exact reasons why have completely escaped me.

So now we're in 2014 and both these bands have dropped new records within the first month. Only this time, I can say quite happily that A Silver Mt Zion have knocked Mogwai out of the park this time around, and it's not just by playing safe. Both these bands have changed their sound a bit since 2003, with Mogwai bringing in some pretty useless electronic bleeps and bloops, and ASMZ moving further away from post-rock, bringing vocals to be the most central element of their music. I don't remember much of This Is Our Punk Rock, but I most certainly remember the vocals weren't this prominent. In fact, it's hard to call Fuck Off Get Free We Pour Light On Everything a post-rock record anymore. Or even an art rock record, as RYM has decided to add to their genres. The abundance of strings and 'rock instruments for non-rock purposes' technically gets them a post-rock vote by the dictionary definition, but this certainly lacks the crescendocore focus of most of the genre.

Firstly, we should note the title of this record. I mean, it's called Fuck Off Get Free We Pour Light On Everything. That is bad ass. I normally think of post-rock titles to be equally pretentious and awesome, and this one definitely swings to the awesome side, at least a lot more than their previous titles. When trying to describe post-rock to the uneducated, I feel "We Pour Light On Everything" is just a perfect description, and all post-rock bands should adopt that, or something similar, as their catchphrase or slogan, because damn, I can most certainly hear the light all over this. On this particular record, A Silver Mt Zion are back to being Thee Silver Mt Zion Memorial Orchestra, leaving behind the Choir and Tra-La-La Band of previous incarnations, but as we should know, this makes little difference and the ever-changing name is most certainly just there for the air of pretention and 2deep4everyone-ness.

But I do unfortunately get to the point where I'm out of my depth in music writing. As much as I can respect A Silver Mt Zion on this album, I find a lot of it hard to enjoy and write about. But I'll start with a few things that are great. Firstly, the production must be praised. This is possibly the noisiest and most abrasive post-rock record I have heard in a long time, regularly bordering on shoegaze and drone in its noise, flying all around you and at you from all directions. Maybe it's just my taste at the moment, but I'm definitely starting to appreciate drone and minimalism in my rock music, even though I find drone and minimalism hard to enjoy on their own. The way the guitars are filtered and sucked through several layers of processing to end up in this tinny and distorted fuzz is just epic, and it really creates a tense and dark atmosphere.

Secondly, and I think the noisy production definitely enhances this, are the use of strings in this. Last year I was so incredibly impressed by the strings on Gris' 3rd album À l'âme enflammée, l'âme constellée..., which had the most fantastically arranged string parts during its interlude tracks, making the atmosphere of the dark and harsh music so brilliantly tense. And although Fuck Off Get Free is as far from depressive black metal as it could be, the same sort of effect is done here with the strings, playing the same sort of lines. Instead of the tremolo-picked guitars and shrieked vocals, the harsh and noisy guitars create the same dark atmosphere, and during sections like the fantastic midsection of "Austerity Blues", I can hear the same tension and brilliant layering of strings and noise and emotion that I felt on that Gris record.

But to be honest, if there's one thing I'm not feeling on this record, it's definitely the vocals. I've always been a supporter of vocals in post-rock, I feel the genre regularly dissolves into genericism and tired repetitiveness without them, and those bands that utilise them will always come off as more memorable in my ears. But the atonal and often off-key voice of Efrim Manuel Menuck regularly kills the mood in my opinion, particularly during the opening track and ones like "Take Away These Early Grave Blues". I understand why these sort of vocals are utilised, they match the harsh and abrasive nature of the guitars, but it honestly just feels like an insane person chanting on top of the music with no real aim to fit in with it. Yes, the music sounds a bit like an insane person too, but I still can't appreciate the way he simply shouts the same note over and over for minutes on end.

Many people have been complaining about the ending of this record, that it comes way too suddenly, and doesn't feel like a fitting ending. Of course, some pretentious people have gone as far as to say that the ending is a metaphor for a sudden death, that death can just happen without any warning. I'm not going to buy into that pretentious garbage, but I'm honestly just enjoying how much the final track, specifically the vocals, remind me of Manes and their Vilosophe album, a band who I have been missing for a long time and have suddenly returned just a week ago.

Honestly, this is the first record from any of the big post-rock bands that I've enjoyed, and the fact that this is only the second ASMZ record I have got into means I'll definitely be checking out their past, but I can't help but feel the reasons I enjoy this is because it isn't really a post-rock record at all. It's a noisy and abrasive chamber rock affair, with some completely delicious strings and some completely irritating vocals, so I guess it evens out in the end.

6.7/10

Originally written for my Facebook page/blog: www.facebook.com/neoprogisbestprog

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 He Has Left Us Alone But Shafts Of Light Sometimes Grace The Corner Of Our Rooms by SILVER MT. ZION, A album cover Studio Album, 2000
3.96 | 82 ratings

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He Has Left Us Alone But Shafts Of Light Sometimes Grace The Corner Of Our Rooms
A Silver Mt. Zion Post Rock/Math rock

Review by Memo_anathemo

5 stars Definitely, one of my top favorite post rock albums. A Silver Mt. Zion, formed by members of Godspeed You Black Emperor, started with the right foot with 'He Has Left Us Alone..." which to me sounds like rendering music to movies, but those kind of underground movies with a dramatic and melancholic feeling. All the songs have that gloomy environment, and have either depressive moments as well as melancholic and sad ones. My favorite tracks are definitely the first one: 'Broken Chord Can Sing A Little' which sounds like taken from a scary or drama underground movie; and of course '13 Angels Stand Guard Round The Side of Your Bed' which sounds like taken from a japanese movie. All the album has the same mood, but it is very different that makes you listen to it completely and over and over, if you are a post rock follower. For the feelings and moments it arouse in me in combination with weird but excellent compositions, I give it a five!

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 Kollaps Tradixionales by SILVER MT. ZION, A album cover Studio Album, 2010
3.60 | 28 ratings

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Kollaps Tradixionales
A Silver Mt. Zion Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars A Silver Mt. Zion trim back their lineup a little but play a somewhat less minimalistic style than the previous 13 Blues for Thirteen Moons on their latest album, Kollaps Tradixionales. The band's always plotted a swaying, uneven course between focusing on soundscapes and crafting songs, and this time around the pendulum swings a little closer to the song end of the scale, though these are sprawling, ramshackle songs which always seem on the verge of disintegrating into loose jams but never quite do it. Those who have followed the band's career will find few surprises here, just good old-fashioned nightmare post-apocalyptic post-rock like only the Godspeed You Black Emperor stable can brew.

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 13 Blues for Thirteen Moons by SILVER MT. ZION, A album cover Studio Album, 2008
3.70 | 55 ratings

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13 Blues for Thirteen Moons
A Silver Mt. Zion Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars Whereas the preceding Horses In the Sky had found A Silver Mt. Zion indulging their catchier, more song-oriented side, 13 Blues For Thirteen Moons sees them tackle another dimension of their sound - their knack for ramshackle, threadbare, falling apart at the seams soundscapes. In fact, not since their first two albums have they got this avant-garde; possibly they were emboldened by positive reactions on the live tour they undertook to develop this material. (I saw them on this tour and they were on excellent form - and are much more cheerful in person than you'd expect). It's not quite their Lift Your Skinny Fists, but with the four major compositions all exceeding 13 minutes they're getting there.

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 Horses In The Sky by SILVER MT. ZION, A album cover Studio Album, 2005
3.89 | 66 ratings

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Horses In The Sky
A Silver Mt. Zion Post Rock/Math rock

Review by Warthur
Prog Reviewer

5 stars Horses In the Sky finds A Silver Mt. Zion succeeding at the experiment they'd been working towards over their last few albums, which was to create a song-oriented version of the fragile, ramshackle post-rock sound cooked up by the Godspeed You Black Emperor/Silver Mt. Zion collective. In particular, they prove to have a knack for writing incredibly catchy songs about completely depressing things - I can't help but sing along to the "I love my dog and she loves me" section of God Bless Our Dead Marines, for instance. On the whole, it's a very successful breakout into uncharted territory for the band.

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