13 Blues for Thirteen Moons

The Silver Mt. Zion Memorial Orchestra & Tr-la-la Band- 13 Blues for Thirteen Moons
Constellation Records (www.cstrecords.com)
www.tr-la-la-band.com


So it’s been almost 3 years since Horses in the Sky came out, and I’ve been fortunate enough to see SMZ play several shows since then, including their first ever show in the US. The same few days they were in NY, they also appeared on WNYC’s fabulous Sunday night show, Spinning on Air with David Garland (see my past post on that.) That recording remains the best recording we have of SMZ. It is well produced but retains the live energy I’ve found to be missing from their other recordings. The band thrives in the live setting, especially the more folk oriented music of HitS (which beg to be danced to) as well as the improvisation and extended versions of classic songs reinterpreted by the ever expanding line-up.

Recently the bands latest record leaked, their 5th full length entitled 13 Blues for Thirteen Moons. I’m afraid I cannot share this album yet, but I would love to share my feelings on the band and the record. And I am very excited to get my hands on the vinyl version.

This record begins with 12 tracks, over one minute total, of feedback. This is not a throw-away, and don’t think that it is. It is preparing us, like the first scene of a play, gathering our attention and establishing the proper mood. Each short feedback phrase is distinct from the others. The last four tracks, which are inarguably the meat of the album, are each about a quarter of an hour. “1,000,000 died to make this sound” begins, and it is clear from the opening words that the band is here, at their most political, angrier and noisier. Each release the various Silver Mt. Zion incarnations produce is distinct from the rest. HitS showed the band developing as a 7-piece, incorporating new instrumentation, and exploring protest-music and tradition folk rhythms and melodies. With the release, featuring new drummer Eric Craven of Hangedup, they are delving into what is almost psychedelic rock. These songs may make use of group vocals and employ similar compositional devices as their past record, but this is a clearly different beast. The focus is entirely on the distorted guitars, downplaying the strings, which are making use of more effects than in the past. “13 Blues for Thirteen Moons” and “Blue Waters Blowed/ Engine Broke Blues” are departures for the band, dark and bluesy, with off beat drumming and waves of noise. Of the new songs played live over the last 3 years, “Blindblindblind” seems to be the favorite, and it’s studio manifestation doesn’t disappoint. Though compositionally reminiscent of GY!BE in some ways, particularly the clearly demarcated movements within each song, 13 Moons also has satisfying climaxes that make use of repetition of melodies and parts effectively without crossing into pop territory.

Efrim sounds great. Of course his vocal style is not for everyone, but I feel it suits the mood in a way that no one else’s can. Have you ever heard anyone cover SMZ? He has honed his style with over 100 lives shows over the last three years. The lyrics are superbly developed, and the band continues to progress and evolve, tinkering with new arrangements and compositions. Many of Efrim’s detractors, often GY!BE fans, prefer He Has Left Us Alone… or Born into Trouble…, both records I love very much. These records have a completely different aesthetic, however, as the band had a different composition and premise. Let us not forget that this is The Silver Mt. Zion Memorial Orchestra & Tra-la-la Band, and not A Silver Mt. Zion.

Is this better than Horses in the Sky? I don’t think that’s a fair question, nor is it one really worth asking. It's a different record, with different aims and different, incommensurable styles. I have long thought that the band had yet to make a record that could capture their energy. The songs just hadn’t been translated properly on tape yet. Maybe the new version of Hotel2Tango did the trick it, because this record, whether you think it sounds HitS electric or not, fucking kills it. Many of the same lyrical themes, arrangements, etc, but this time fucking balls out, angrier, louder, looser, and with a new drummer, well produced. This is an achievement.

I anticipate reactions to this record will be mixed. Some people will be missing out. Play it loud. Blast it out of your speakers. Or put on your headphones and smoke a joint if you need to. And come and see them on their upcoming tour.