{"id":5890,"date":"2017-05-26T13:43:25","date_gmt":"2017-05-26T17:43:25","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=5890"},"modified":"2017-06-12T11:00:54","modified_gmt":"2017-06-12T15:00:54","slug":"forest-swords-compassion","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/forest-swords-compassion\/","title":{"rendered":"Forest Swords <br>Compassion"},"content":{"rendered":"<p><a href=\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/05\/forest_swords-compassion.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-5891\" src=\"http:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/05\/forest_swords-compassion.jpg\" alt=\"Forest Swords, Compassion\" width=\"250\" height=\"250\" srcset=\"https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/05\/forest_swords-compassion.jpg 250w, https:\/\/agitreader.com\/wp2\/wp-content\/uploads\/2017\/05\/forest_swords-compassion-150x150.jpg 150w\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" \/><\/a>Matthew Barnes\u2019 work as Forest Swords is definitely an acquired taste. It\u2019s not music you\u2019d ever play at a party, and little of it is pretty or even pleasant. The photo on the cover of his newest, <i>Compassion<\/i> (Ninja Tune), accurately evokes what it feels like listening to an entire Forest Swords album in one sitting. Barnes\u2019 samples are all disquieting, and his arrangements are not at all uplifting. However, there\u2019s a lot of emotion here, and at times it\u2019s truly affecting, like a sad movie in a dark, lonely city cinema.<\/p>\n<p>The opener, \u201cWar It,\u201d starts quietly and dramatically, like the opening shot of an epic fight sequence, before a noise like sinister crickets starts the rhythm and a train rumbles in the distant background. Barnes establishes an atmosphere, then deconstructs the pieces into a striking beat. I especially like the third and fourth minutes of the track where almost everything fades away, leaving us with a plaintive, repetitive melody. There are distinct pauses, full stops before all the rhythm returns for the climax. This track is pretty much perfect, and the rest of the album plays out variations on these techniques.<\/p>\n<p>\u201cThe Highest Flood\u201d and \u201cExalter\u201d bring back Barnes\u2019 trademark choral cut-ups, harsh edits of group vocals that instantly fill up the tracks with disorienting and discordant sound. On \u201cBorder Margin Barrier\u201d and \u201cSjurvival,\u201d Barnes takes his \u201cslow dread\u201d aesthetic to its logical end-point. Almost nothing happens, and yet it\u2019s thrilling. He strips away all but the barest elements and in both cases, it\u2019s extreme and effective. \u201cRaw Language\u201d and \u201cArms Out\u201d are the only two tracks that pick up the tempo. They\u2019re not exactly fun, but with the rest of the album being pretty slow and following a familiar game plan, these are necessary for a change of pace.<\/p>\n<p>Since his last, excellent LP, <i>Engravings<\/i>, Barnes has been busy filling out his resume, making movie scores and a very breathy accompaniment for dance (<i>Shrine<\/i>). Those experiences seem to have persuaded him that his music needs more space. The music on <i>Compassion<\/i> develops patiently. When it\u2019s at its best, that means it effectively builds tension, creating a compelling, evocative environment for his cinematic imagination.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Matthew Barnes\u2019 work as Forest Swords is definitely an acquired taste. It\u2019s not music you\u2019d ever play at a party, and little of it is pretty or even pleasant. 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It\u2019s not music you\u2019d ever play at a party, and little of it is pretty or even pleasant. 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