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Two bold allied bands – Squid and Black Country, New Road – released their debut albums this year. “What’s going on all over London right now,” said Picton, “is that there is a huge community of really open-minded and close-knit musicians, from full-on jazz to straight-up rock.” And then there’s this whole kind of mishmash in the middle – really exciting stuff. Instead, they present sinewy, practical virtuosity and knotty structures. “Cavalcade” is the work of a band determined to defy all routines, including their own.īlack Midi was an early arrival in a wavelet of British bands ignoring the brief attention spans and programmed sounds of mainstream pop. The album even offers a straightforward melodic song: “Marlene Dietrich”, a bossa nova ballad about the familiarity of pop as a refuge in a world of argument. The band takes their dynamics to a new level, juxtaposing cacophony with frugality and tranquility, while Greep and Cameron Picton, the band’s bassist, sing about social and physical decline and the chance that music holds hope. On his second album “Cavalcade”, which will be released on Friday, Black Midi expands its music even further.
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It was nominated for the Mercury Prize, the British award for musical quality.
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The debut album “Schlagenheim” from 2019 presented a band that had merged the fast precision of prog rock with the die-hard vampires and the aggressively eccentric vocals of post-punk as well as a lot of free jazz and atonality. Most of the time, the group’s music arrives as a structured barrage: dissonant riffs, changing rhythms, darkly cryptic texts and textures that can fluctuate between the complexity of the clockwork and the pulverizing of noises. “We think about how we can make something as exciting as possible and keep the tension there all the time.” The band Black Midi makes complex music with one simple goal: “Drama,” said Geordie Greep, their guitarist and lead vocalist, in a video interview from the band’s rehearsal room in London.