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Motion To Rejoin

by

Brightblack Morning Light

 
Motion To Rejoin
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Avg: 3.5 (60 ratings)

A funky excursion into muzzy climes, with a Fender Rhodes to guide you through the haze.

  • We Say...

    Brightblack Morning Light's 2006 debut for Matador records was a little slept on. With the somewhat hippie-ish — OK, egregiously hippie-ish — look of lead Lights Nathan "Nabob" Shineywater (guitars, vocals) and Rachael "Rabob" or "Rabinyah" Hughes (keys), it was easy to dismiss 'em as yet another entry into the more-inert-than-thou freakfolk sweepstakes.

    This was a mistake. That album was the Maxinquaye of the beardo set, a weirdly funky excursion into very muzzy climes, Hughes' Fender Rhodes the lantern guiding you though haze — the perfect album for a mentally muted one-night stand with some nth-generation flower child you pick up hitchhiking away from Bonnaroo.

    Motion to Rejoin is like the Sunday morning day after, when everything looks a little less sexy as you're veeery slooowly trying to find the coffee while your hook-up insists on reading headlines from the paper out loud. The Rhodes is still there, but it's less obtuse funk than sepia waves of sound. Those are (probably) flutes humming and tweeting in the middle distance; Shineywater insists on overloading some amp now and again, so everything's covered in a thin, fuzzy film. He sings about hologram buffalos you know he's seen and oppressions nobody wants that you know he's never really experienced. Not a bad cult to join now and again, but make sure you remember where the door is.

  • They Say...

    If you thought the first two Brightblack Morning Light records were adrift in a sea of languidity, you won't be surprised by the third -- unless, of course, you'd think that after being begged to add some variety to their sound, the duo would pull back from the brink. Proving themselves perfectly immune to criticism, Brightblack Morning Light do nothing but chill out yet farther on Motion to Rejoin. Recorded in the secluded New Mexico desert with many self-enforced limitations -- most notable of which is the restriction of studio power to direct solar radiation (aka daylight) -- Rachael Hughes and Naybob Shineywater have fashioned another record that cobbles together eight tracks from what seems like a maximum of two or three different grooves. The duo and their compatriots nonetheless continue to sound great, even if their music's true aim is nothing more than relaxation or meditation. Hughes' Rhodes piano and Shineywater's Silvertone guitar or Hohner clavinet amble through the album, calling up the ghosts of the American Southwest (and South), even as they veer yet closer to nearer descendants like Talk Talk and Spiritualized. The lyrics, when they occur, offer encomiums to natural living (naturally) with the occasional warning of the modern world's perils (a sampling: "I still live by the river in a little tent," "I see the places where the tee-pee once was risen," "Nobody wants oppression," "Keep the spirit clean and let the high times roll"). Brightblack Morning Light's intentions and actions are indeed admirable -- they're committed advocates of much more than just drug legalization -- but Motion to Rejoin struggles mightily to articulate a focus aside from tranquility.

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