In Never Out - thesilentballet (USA) 8 of 10
People say the darndest things when talking about music. The topic was this yearÂ´s best albums. Trying to impress a girl, a fool, in the most generalist manner, blurted out: â€śWhen a band matures, they lose their creativity.â€ť To offer a counter argument to this madness, I only needed one word to extinguish his pallid, flawed flame. "Tortoise." At this, he fell to his knees, crying, begging me to kick him back to sanity.
With Tortoise, "maturity" is the keynote quality that has aided their longevity. Pg.lost started very brightly with Yes I Am, an emotion-packed EP that alerted post-rock lovers everywhere to a new Swedish giant in the making. Then they released their first proper album, ItÂ´s Not Me, ItÂ´s You, and, as if to piss all over the fansÂ´ expectations (myself included), it was just another post-rock album. Sure it had some amazing tracks on it, but as a whole, it wasnÂ´t a coherent piece of work. "They fail to set pulses racing like we know pg.lost can,â€ť was stated in this review. Almost one year has passed, and with In Never Out, it all makes sense. They needed to make ItÂ´s Not Me, ItÂ´s You in the same way that The Samuel Jackson Five needed to make Same Same, But Different. It is simply part of the learning process.
In Never Out as a whole oozes beauty. What we have now is a band that has perfect knowledge of their capabilities and is comfortable playing in their own skin. From the minimalist start of opener â€śPrahanienâ€ť to the dying last seconds of the album, pg.lost craft sweeping, melancholic soundscapes that attract, surround, and finally haunt the listener hours after the album is finished. They sound more restrained, with no over-playing or useless repetitions on display. Everything is done to serve the purpose of each track individually and the album as a whole.
Every once in a while tracks like â€śCrystallineâ€ť and â€śHeart of Heartsâ€ť throw some curve balls to hold the listenerÂ´s interest. â€śCrystallineâ€ť gives the illusion of being played in sixes while actually being played in eights, thanks to the drummerÂ´s clever rim strikes. â€śHeart of Heartsâ€ť seems like itÂ´s going to go in the same quiet-loud direction half way through but then surprises by going in an entirely different direction. This just comes to show their belief in their abilities right now, as well as upgraded song writing skills. The drumming in particular has improved vastly; Martin Hjertstedt carries several crescendos on his own while the guitars take the back seat.
The most notable difference between this and the previous album can be conveyed by comparing tracks â€śGomezâ€ť and â€śJonathan.â€ť I have always believed that it could be very dangerous to give a track a human name, since that heightens expectations. The band is expected to tell a story that gives the audience a glimpse into someoneÂ´s life - his feelings, his thoughts, and his actions - all in a few minutes. To make things more difficult, they do it without uttering a single word, for their instruments articulate everything. â€śJonathanâ€ť wasnÂ´t a bad track, but it lacked that storytelling quality. It could have been about any old Jonathan. "Gomez", on the other hand, has a story. We can sense the manÂ´s sadness, his longing for something he no longer has. Perhaps an expatriate wanting to go home to his family and friends, he is unable to embrace his new surroundings and is exiled from what he cares about the most. To strengthen this narrative, pg.lost place a Spanish radio sample at the end, and the hairs on the back of the listenerÂ´s neck stand in applause.
The only thing that canÂ´t be said about In Never Out is that itÂ´s groundbreaking; it is more a progress from the bandâ€™s original sound. This album is where pg.lost get it right and confirm their fansÂ´ belief in their capabilities. By all means, this is a must listen for 2009
- Mohammed Ashraf
In Never Out - Criticalmass (Sverige) 8 of 10
En mistlurs ensamma kall inleder "In Never Out", en skiva som fĂĄr kĂ¤nslovĂĄgorna att rĂ¶ra sig mellan Ă¶versvallande passion och iskall kyla. Mistlurens varning Ă¤r tydlig: tjock dimma och fĂ¶rfĂ¶risk skĂ¶nhet fĂ¶r ut.
FĂ¶r NorrkĂ¶pingskvartetten PG.LOST gĂĄr med sin andra platta pĂĄ djupet, och det kĂ¤nns. Det hĂ¤r Ă¤r postrock nĂ¤r den Ă¤r som bĂ¤st, episkt vacker och eftertĂ¤nksamt tung. Och den lyckas vara detta utan att bli vare sig enformig eller trĂĄkig.
I femtio minuter bevittnar vi en kamp mellan avgrundsdjup bas och Ă¤nglalik melodi och som ĂĄskĂĄdare pĂĄminns vi om och om igen utan fĂ¶rvarning om stundens allvar samtidigt som vi dras in i ett fĂ¶rtrollande vackert samspel.
De sex spĂĄren som spelades in i somras nĂĄr sitt sista crescendo i samt avslutas med magnifika â€ťGomezâ€ť, men egentligen gĂĄr det inte att skilja sĂĄng frĂĄn sĂĄng, Ă¶vergĂĄngarna Ă¤r sĂĄ fina att det hela smĂ¤lter samman till en enda hĂ¤nfĂ¶rande hypnos.
"In Never Out" Ă¤r en fantastisk skiva och jag ser med stor fĂ¶rvĂ¤ntan fram emot att en dag fĂĄ bjudas pĂĄ denna vackert vemodig resa live.
- Isabella Qvist
ItÂ´s not me, itÂ´s you! - Sputnik music (USA) 4.5 of 5
What pg.lost have crafted with their new record, ItÂ´s Not Me, ItÂ´s You!â€ť, is a post-rock album that should attract the attention of all the Explosions in the Sky whoring, A Silver Mt Zion loving, Yndi Halda worshipping post-rock kids ad get them to divert their attention away from Sigur RosÂ´ latest â€śbreathtakingâ€ť record of the year candidate. While the transition from their first EP to their first full length has seen pg.lost grow a little more in line with traditional post-rock bands, they still like to defy what you expect them to do, and then do so in an absolutely deft manner.
The record begins innocuously with â€śThe Day Shiftâ€ť, which begins and ebbs like a normal post rock song would, the intro building towards its eventual â€śclimaxâ€ť, featuring one of the key pegs in the pg.lost cog: the distortion in a pg.lost song is done so wonderfully, youÂ´ll begin to wonder if it really counts as distortion or if the music is just so beautiful you canÂ´t hear it straight. As it begins to wind down, and you hear what would expectedly be the last few guitar notes being plucked, the song explodes into something AT LEAST five times louder and more epic than it was before. The dual guitars interweaving as the drums crash around, while the song ends in a heavily distorted solo.
Its hard to describe something so ***ing brilliant, people.
The middle of the album proceeds more tamely, with â€śHead Highâ€ť being the only slightly weak point of the album, a generic, but still solid, track accompanied by clichĂ© after clichĂ©. Luckily Every song following lives up to the quality height of â€śThe Day Shiftâ€ť. While â€śPascalÂ´s Lawâ€ť showcases that they can write a traditional post-rock songs and add various flairs to it (the 5 minutes of high tempo snare hits are delicious), as they abuse their echo pedals in its climax. â€śMaquinaâ€ť continues on a similar path, except focuses more on its final crescendo than any sort of neat trickery.
What makes pg.lost different/so enthralling is that they couldnÂ´t care less about making any part of their music â€śprettyâ€ť. Even in moments that should be glossy and stylized, such as the beginning of â€śJonathanâ€ť where the extremely â€śdirtyâ€ť (aka â€śwe can mess with the levels on this part of the mix a lot!â€ť) guitar riff makes the otherwise lush guitar work grounded, and at the same time making a fantastic juxtaposition between the ugliness of pg.lostÂ´s work with the inherent beauty. The final song â€śSirenâ€ť is arguably the best song recorded this year, especially when taken in context of the album.
The most minimalist song in composition, â€śSirenâ€ť begins with little else other than a repeating guitar line and light synths. It goes on like this for nearly five minutes, every few moments taking the time to draw you back in with a individual guitar lick or shift in the song itself, until the drums kick in and the only true vocals on the album are heard. The song steadily builds throughout its duration, picking up steam and additional instruments until it finally erupts in a cacophony of guitars, drum crashes, and a piercing yell in the background. It is the perfect ending to the record, a release of energy that seems to have more in common with the likes of Envy than, lets say, Eluvium.
ItÂ´s Not Me, ItÂ´s You! is not for everyone, and it isnÂ´t even for every post-rock fan. ItÂ´s a long, trying album seemingly designed to test your patience in short bursts, implanting you with the knowledge that yes, in time everything will make sense in any given song. Even when pg.lost turn into a â€śstandardâ€ť post-rock band, they do it well and above most of their peers, and when pg.lost are Â´pg.lostÂ´, they can challenge anyone else in the game when it comes to sheer talent and virtuosity. While the album may ride a little too heavily on the guitarists for many peoples tastes, itÂ´s the best post-rock album IÂ´ve heard since Yndi HaldaÂ´s Enjoy Eternal Bliss, and I surely hope pg.lost can build upon this and craft an album great enough to land them in direct comparisons with the Sigur RosÂ´ and GY!BEÂ´s of the world.
- John A. Hanson
Yes, I am - Thesilentballet (USA) 8 of 10
While some well established instrumental rock acts appear to be content to tread water lately, it is rather refreshing to discover some unknown bands creating high quality music. Unsigned Swedish act, pg.lost, is one of them. Ever since I spent some time with the bandÂ´s 2005 demo, I have been eager to hear more from this relatively unknown quartet. On its debut EP, Yes I Am, pg.lost has shown the proper growth from its first outing and has produced some of the finest instrumental tunes released so far this year.
Not only is this one of the strongest post-rock releases I have experienced in a while, but opening track, â€śYes I Am,â€ť is one of the most beautiful melodic rock tunes to grace my ears in quite some time. After a dark, Mono-esque opening, the track jolts to life with some distorted guitar and drum hits, before fading into a mellow, delay-drenched melody with some impressive guitar-bass-drum interplay, which is not common in many up-and-comers. After bringing back the guitar distortion, the track goes limp. And maybe thatÂ´s all we get, a one-trick pony. Not so fast, says pg.lost, who brings back the magic with a majestic, distortion fueled ending that rounds out what is just shy a perfect track.
It would be damned near impossible to keep the rest of the CD as strong as the opening cut, but pg.lost do a pretty good job of maintaining the listenerÂ´s attention. â€śKardusenâ€ť and â€śFartygetâ€ť start with some melodic bass arpeggios similar to Come On Die Young-era Mogwai, with the louder passages summoning a deeper, more interesting Red Sparowes vibe. The final tracks on the record show a mellower side to the groupÂ´s sound, incorporating some keyboard melodies and a GY!BE flavored sample. Most of the songs check out at around the 6:30 mark, making the songs just epic enough without getting boring or too repetitive.
ItÂ´s definitely encouraging to experience a new band with a strong sense of songwriting and talent that pg.lost have exhibited on Yes I Am.
The group should undoubtedly be mentioned with other young acts like This Will Destroy You and Caspian as heirs to the EitS/Mono throne in the instrumental rock kingdom. LetÂ´s hope a label snatches these Swedes up soon and forces a full length out of them. My top 5 of the year list is waiting...
19.04 DE -- Aachen -- Musikbunker w/Samiam
20.04 DE -- MĂ¶nchengladbach - Westend | Useless Fest
21.04 DE -- Berlin -- Bi Nuu +Samiam
24.04 DE -- DĂĽsseldorf -- Tube
25.04 DE -- IbbenbĂĽren -- Scheune
30.04 DE -- GĂ¶ttingen -- T-Keller +Nothington, Apologies I Have None
01.05 DE -- Leipzig -- Werk 2 w/ Polar Bear Club
02.05 DE -- MĂĽnster -- Skaters Palace Uncle M Fest
03.05 DE -- Dortmund -- FZW + Polar Bear Club
08.05 DE -- KĂ¶ln -- MTC w / Attack Attack!
18.05 DE -- Wermelskirchen -- AJZ Bahndamm
25.05 DE -- Bielefeld -- AJZ + Captain Planet
29.05 DE -- MĂĽnster -- Baracke
30.05 DE -- OsnabrĂĽck -- Bastard Club
31.05 DE -- Rendsburg -- T-Stube
01.06 DE -- Cuxhaven -- DĂ¶ser BĂ¶rse
02.06 DE -- Hamburg -- Rote Flora
03.06 DE -- Chemnitz -- AC 17
04.06 DE -- Ulm -- Tanke
05.06 DE -- Trier -- Ex Haus
06.06 DE -- Erfurt -- Engelsburg
07.06 DE -- MĂ¶nchengladbach -- Blaues Haus
08.06 DE -- Aachen -- AZ
05.07 DE -- FĂĽrth -- FĂĽrth Festival
06.07 AT -- Micheldorf -- JukuZ Baraka (Open Air)
07.07 AT -- Graz -- SUB
08.07 AT -- Wien -- EKH
19.07 DE -- DĂĽlmen -- DĂĽb Schools Out (Open Air)
09.08 DE -- KĂ¶ln -- Underground + Belvedere
21.09 CH -- St. Gallen -- Grabenhalle
Fights and fires
20.04 EN -- Corby -- Zombie Hut
28.04 BE -- Meerhout -- Groezrock Festival (Mcbeth stage)
Atlas Losing Grip
25.04 DE -- Kiel -- Shaubude
25.04 NL -- Gouda -- So What
27.04 DE -- Immerhausen -- Akku
28.04 DE -- Berlin -- Monsterbash
30.04 SE -- Stockholm -- Firestorm fest
08.06 NL -- Ysselstein -- Jera on air festival
04.07 DE -- Wermelskirchen -- Wermelskirchen
05.07 DE -- Saarwellingen -- Rock Camp festival
06.07 DE -- Zinnowitz --Utopia festival
See all dates >>