Venice is Sinking Issue #39

AZAR

By Chris R. Morgan
Published: March 1st, 2009 | 2:50pm

The term “slowcore,” which often turns up as an adjective to describe the overall sound of Venice Is Sinking, is, to me, a roundabout way of describing music for someone with a long day and nothing to do. Nevertheless, if one is to truly, truly use the term in relation to Venice Is Sinking, it would more likely be music for someone driving down a highway, not having much of a clue as to where he or she is to end up in the coming days.

While Venice Is Sinking play that classic, melodically simple pop, one cannot avoid the sense of natural sprawl and wide-openness that the songs conjure up. Much of this is due to the layered arrangements: instruments are neatly piled atop more instruments that include electronics, horns, strings, and most consistently, solemnly strummed guitars. Dual vocals switch between a spectral female croon and a self-conscious male whisper. The music, whether purposefully or not, overtakes the lyrics considerably and one can barely piece together mini-narratives of everyday life. More moving, however, are the instrumental segues of the album titled “Azar One,” “Two,” “Three,” and “Four.” While most pieces like these would be one-offs meant to fill time, these are fully realized with delicate composition and considerable emotional power.

Venice Is Sinking has an appeal that can transcend those who simply like slow music. While other bands of this type are best heard during painful contemplation, sitting still during the playing of AZAR, while certainly acceptable, wouldn’t do it proper justice.