Maybeshewill - I Was Here For A Moment, Then I Was Gone (Album Review)
Tuesday, 10 May 2011
Written by Ben Bland
When Maybeshewill first sprung up from the murky depths of the post-rock world they were often dismissed as mere 65daysofstatic copyists. Of course this was utter rubbish. They may have shared 65dos’s passion for combining traditional soaring post-rock with electronic elements but Maybeshewill were always a whole different beast at heart. 65dos have always been more of an electronic act deep down and in recent times have even chosen to practically abandon the guitar from their recordings. Maybeshewill on the other hand have frequently ventured into the genre’s heavier realms and even verged on metallic territory at times. The band’s third album, the excellently titled 'I Was Here for a Moment, Then I Was Gone', is another journey into sonic bliss, although one that differs subtly from its predecessors.
One thing immediately apparent on 'I Was Here for a Moment, Then I Was Gone' is the fuller, more complete sound compared to 'Not for Want of Trying' and 'Sing the Word Hope in Four-Part Harmony'. The whole record features a richer, more extravagant tone than previous albums. This is undoubtedly partly down to the improved studio conditions the band used to record this album, being slightly less DIY in that it was, in the words of guitarist/keyboardist John Helps, “recorded in proper studios for a change”. This has not only resulted in greater clarity of production and sound quality of the record as a whole, but also in a sound that features increased use of orchestration. In fact this record would sound totally different if it did not come with the prominent string parts on tracks like 'Accolades' and closer 'To the Skies from a Hillside'. It takes a few listens to realise quite what is different about Maybeshewill’s sound here but after a time it becomes clear that the orchestrated elements have made a key difference. This is post-rock that takes elements of 65dos and chucks them at shades of Godspeed You! Black Emperor and then has a fist fight with And So I Watch You From Afar to win custody of Russian Circles...and you know what? It’s brilliant.
For a band that is part of a genre that has a, sadly well deserved, reputation for frequently meandering along for twice as much time as it needs to, Maybeshewill have provided a record that manages to transmit more than enough emotion and power for an album twice its forty-two minute running length. Nothing overstays its welcome at all and even though the likes of 'Farewell to Sarajevo' and 'Relative Minors' could be comfortably described as epics, they are both under seven minutes in length. What Maybeshewill have that so many other acts of their ilk lack is an impressive ability to write actual songs. There are no vocals on this album, not even the samples that were notable on previous releases, but many of the tracks are still ridiculously catchy. 'Critical Distance' weaves its way into your head just as easily as the most annoying tune you’ll hear on Radio 1 during the daytime but, obviously, with infinitely more class and grace. Meanwhile the heavy bass led riffage on 'To the Skies from a Hillside' is almost impossible not to headbang to and the delicate 'Words for Arabella' is surely the most soothing thing released yet this year with its handclaps acting as an excellent percussional addition rather than a tacked on optional extra. This is a record with a variety of different facets and, impressively, each such facet is as impressively delivered as the other.
'I Was Here for a Moment, Then I Was Gone' sounds massive and alternates between peace and war with a dexterity very few bands manage to pick up. Maybeshewill have created something so definitive that it should act as a soundtrack to everyday life. It may not be a masterpiece but it is a genuinely excellent album, one that will certainly list amongst the better release of 2011 and the better post-rock releases for some time.
Album Rating: 9/10
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One thing immediately apparent on 'I Was Here for a Moment, Then I Was Gone' is the fuller, more complete sound compared to 'Not for Want of Trying' and 'Sing the Word Hope in Four-Part Harmony'. The whole record features a richer, more extravagant tone than previous albums. This is undoubtedly partly down to the improved studio conditions the band used to record this album, being slightly less DIY in that it was, in the words of guitarist/keyboardist John Helps, “recorded in proper studios for a change”. This has not only resulted in greater clarity of production and sound quality of the record as a whole, but also in a sound that features increased use of orchestration. In fact this record would sound totally different if it did not come with the prominent string parts on tracks like 'Accolades' and closer 'To the Skies from a Hillside'. It takes a few listens to realise quite what is different about Maybeshewill’s sound here but after a time it becomes clear that the orchestrated elements have made a key difference. This is post-rock that takes elements of 65dos and chucks them at shades of Godspeed You! Black Emperor and then has a fist fight with And So I Watch You From Afar to win custody of Russian Circles...and you know what? It’s brilliant.
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