Crimson Mourn is only 18 years old, but 18 is not too young to produce quality music. Bring Your Desires Here is already the artist’s second album, and its best parts are better than much of the post-rock on the market. With an album this long (73 minutes!), there’s bound to be some filler, but there’s also much meat. The key to Crimson Mourn’s future success will be to sort out the great from the merely good: to let some elements go in order to allow his best face to be seen.
Five of the eight songs are in the ten-minute range, and only one is less than five. ”Moments Collapsing the Eternity” makes a great opener, with a keen sense of pacing, bright chords and a confident attitude. Many post-rock albums are known only for their opening tracks, so it’s a good thing to start strong. Whenever Crimson Mourn takes this route, he wins the listener over. ”The Beauty of the End” also grows from quiet origins, but stays there; the mid-point breakdown links the track to another quiet movement. The refusal to go large on this piece is a welcome surprise. In contrast, “Underneath This Sea of Broken Stars” remains powerful from beginning to end, with memorable guitar lines and accessible drums. The track is upbeat, as is much of the album; we don’t need to wait for the glockenspiel to cue us into the mood. This is the sound of an artist having fun, which is what post-rock needs: not to take itself too seriously, save in the department of quality.
As a young artist, Crimson Mourn is also still in the experimental stage, and not everything works to the same degree. ”All Those Bombs Are Fireworks Now!” draws upon classic rock for its influence, but classic rock and post-rock do not always mesh well, and the production values of the track are not as good as elsewhere; the thunder sample is also a bit obvious. The shaded vocals on “A Song To Whisper Over The Silence” are a distraction, although they are a minor note in the track. Vocals also injure “Sleep, Don’t Wake Up”, which begins in lovely fashion with aching string sounds placed over a nest of conversational chatter before bursting into a series of squalls and ending in an unfortunate troubadour fashion. And the eighties-inflected “Kids On The Moon” would have been better without the whispers and “woos”.
There’s enough here to recommend Crimson Mourn as an artist to watch. It’s much better to have a lot of good ideas and a few bad ones than to have only a few good ideas, even without the bad. Our advice is to drop the vocal element and concentrate on the music; the strengths of this album are indeed very strong. (Richard Allen)