ONE TIME FOR ALL TIME

Not 100% convincingly, even to this point, there's however no more pet talk around how mature, how evolved and how un-fusionist the ensemble, the thick mind and the reckless creative mass of 65daysofstatic have come to be. It's a bitter taste that confronts the mixed language of an, itself, very unnerving standard (the post-rock glimpse and the American language of being above the abrasive consideration), less to challenge the idea that, by such a fleeting maximized taste, the described scales are complete or coherent. For itself, 65daysofstatic adapted a rigorous lexicon of what's more immensurable: a math delicacy or a grunge inefficacy; coming up, finally, with the brave idea that the loud voom, the quintessential distress and the arrhythmia inside all the neurosis has got a clue of aesthetics and a fiery breath of something risibly applausive. Finally, because the "fall of math" high regards came imprecise to the exact adaptations, and the EP, however directive, had nothing to concede to the doubt. But within a second album and a second confirmation of exacerbation inside a clue-tone, called One Time For All Time, it can be accepted itself that 65days have a impressive scale and ambits to present, around the part of such a restless taste that bring dark novelty, intense grief or disambiguate progressivism. Well-launched ideas that the brisk of all this cluster isn't in the simple poise of a defeatism, also.

Now, too much of different brainstorming the ensemble didn't do, and too much of obliging a different intermission and a subsequent change of energy and control, it's in no position the meaningful discovery and temper, not here, nor ever. But generally it's an elevation of quality and withstanding, taking the small surface of energy pulses and dark-experimentalism to a dimension of pleasing guilt, defining abstract and touching absurdum; for a goal achieved in entertaining, and an equally defying taste for anything in the regular shade of math precocious moldings. For the kind of a balanced radical offend to an art scream, inside the white lined explosions. Something of interaction and entertain, by our side of a depression, and of novelty and mature obstruction, by the followers of this pleasure bash principle and this dark garage persistence.

Somehow it feels for the first time that the dim impressionism here is too short to resist a savage feedback of pleasure and crisis; but that's the magic repeated several times, in the branch of fleshy tones, dark, abstract and dominant minor fledges, plus the bits of an ethereal surround to come from all places, in distinct tones of an incompatible consistency for an ill-recognized experimentalism; in frames, multitudes and miniatures of the level-headed heated gruel goad. Repeated those many times to be finally mastered in this album of a good vibe and a tremendous emotional feedback (or just a razed insane response); and, I'll add this too, understood completely by the band behind the supple concept and the youthful jam inside the awarding nebulosity. Jingle or gamble, but after the first impressions (which go succinct for the fun of it), there comes senses into the drone-gored ornaments. After the metallic taste, comes the relaxation of all discrete tones into something not of a brainwash, nor a dynamic outreach, but a trenched mystic. And after the hog and the jam of many, concept-engineered, havocs and blizzards, there's, with equivoque, the stamp towards the indigested dimensions of a break-heart and deep narrow connectivity, inside the black luster of a clean swift and a theatrical burden. More melody and disputed orientations (around the circle of an précis and unconventional dark raise tone) make it even better.

If we're talking popular, post-rock referential, devilish, grunge, but also charismatically, profound and a bit in art unequal lossless, then One Time For All Time is the single-handedly such expression.