Kaura - That Which Defines Us
Rating
RIYL
ToolDead Letter Circus
Porcupine Tree
dredg
Release Date
09/20/2011
Label
Self ReleasedTracklist
01. Invocation02. Sera Phi
03. One Becomes Two
04. Ephemreal Fall
05. Solace
06. Silence Speaks Louder
07. Apathy
08. Alarmico Saturn
09. 2C&B
10. If This Were To End
11. Tether’s End
12. A Lament For Change
13. Untitled (Bonus Track)
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Kaura occupy a unique musical space, existing somewhere between pushing boundaries and happily existing within them. Having travelled the world in search of ancient instruments to fashion a more worldly and expansive sound, the tragedy of Kaura is that at the end of the day they sound an awful lot like a Tool cover band writing original material. As someone who loves nothing more than to hear bands discovering (or in this case, rediscovering) new methods with which to experiment and ultimately express themselves, Kaura as a concept is breathtaking. If the same care and attention that went into the selection of instruments was paid to the songwriting, Kaura might have a masterpiece on their hands. In execution, however, That Which Defines Us is ultimately a competent but unremarkable alt. rock album.
“Invocation” kicks off the album with the first of two noise-ridden, overwrought interludes that have about as much of a point as the interludes in Fair to Midland’s Arrows & Anchors. That is to say they don’t. And let’s not kid ourselves with “Sera Phi.” Kaura’s signature selection of new and different instruments is almost nowhere to be found in a song that could be confused for a Tool b-side. It’s a great song, don’t get me wrong, but if you’re going to rewrite “Vicarious” with some worldly influences, at least highlight them more.
The first track that noticeably benefits from Kaura’s imported instruments is “Silence Speaks Louder.” I can’t say that it’s particularly good, hampered by a particularly anemic vocal performance from Malcom Guess. The extra percussion in the intro lends a rustic atmosphere to the otherwise lackluster track. Don’t ask me what the extra percussion is called, though. Kaura don’t name names, preferring to let the instruments figuratively “speak for themselves,” which is of course fine and good until I want to talk about them.
But I’m being a little too harsh. If you like alternative, progressive rock with massive choruses and neat flairs of instrumentation, That Which Defines Us does feature some killer tracks, including “One Becomes Two,” “Ephemeral Fall,” and “Alarmico Saturn.” Just be ready for some flops. The seven-minute “Apathy” trudges along, bored with itself, and that’s before the meandering extended solo. And the ballad-esque “Tether’s End” and “A Lament for Change” just lurch. They’re deceptively short at just over five minutes each, because you’ll be undressing the “Skip Track” button with your eyes after just one or two.
Bottom line, Kaura have good intentions, fresh ideas, and a work ethic. They’ve just got to channel it into songwriting that’s more effective, hell, more affective too. At present, their unique instruments come off gimmicky, as though the only reason to listen to this collection of otherwise bland songs is for the hammered dulcimer or the gamelan bells. And in too many cases, that is the only reason.
And no, it is never okay to have 10 minutes of crickets chirping preface your “hidden track.”
--Zach Roth
Comments
Dallas, Texas
Fishers, Indiana
The live show gripe doesn't surprise me. Their image leaves a lot to be desired.
And yeah they have potential. I'm already anticipating their next release.
Top Albums: 2011 | 2010 | 2009 || Tumblr | Twitter
Zach, you know that I disagree on this :) To me “Tether’s End” and “A Lament for Change”are examples of topnotch songwriting.
But, yeah, the ten-minute cricket's chirping is a "bit" OTP. :)
Reno, NV
This kind of reminds me of the band Hurt.
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