Has it really been that long since The Pirate Ship Quintet‘s self-titled debut EP? Six years is long enough for entire industries to change, and in terms of taste and technology, they have. Over the past few years, the band has sporadically toured, coasting on the strength of the first three songs they committed to wax – songs that continue to stand up well today. (Denovali will be re-releasing the debut EP alongside the new project.) “Lost Science” in particular remains a classic – the piano, the trumpet, the cello, the epic build, the clash of guitars, the crescendo. Would The Pirate Ship Quintet be able to recapture its audience in a similar way six years later? Would it still be considered the hope of an industry?
Like many groups that dabble or delve into post-rock, The Pirate Ship Quintet doesn’t seem to care about categories or labels. The lead story on “Rope for No-Hopers” (suicide prevention centers will not be pleased) is the addition of vocals: shredding, screaming vocals in the post-metal vein, largely devoid of note or identifiable word. While I’m not a fan of these vocals, they don’t pop up everywhere, and they possess an undeniable power. Hearing them is like hearing an additional guitar plugged into a cheaper, louder amp. In the final minute of “Pirate Ship” (from the EP), the pre-echoes can be heard; in retrospect, the shift is not as unexpected as one might imagine. And yet, one wonders what The Pirate Ship Quintet is so angry about. Is it the equine apocalypse mentioned in the press release? Last year’s London riots? The more typical (but understandable) angst at the end of a relationship?
While the band continues to be comfortable in the 10-minute format, the opener almost reaches the 12-minute mark and is entirely instrumental. Like “Lost Science”, it eases the listener in, this time with cello and acoustic guitar. When the expected crescendoes emerge, it becomes apparent that The Pirate Ship Quintet is still on top of its game, although no longer ahead of the curve. Yet this matters little when a band is still ahead of its contemporaries in talent. This band knows how to shift mood as easily as texture, when to hold back and when to go all-out; and the composition is as good as the performance. “You’re Next” is one of the best post-rock tracks of the year, even if one doesn’t call it post-rock; and the closing three minutes of “Doldrums”, in which the strings take sole possession of the stage, are as sublime as any those found in any classical recording.
The screaming doesn’t start until three minutes into the second track – roughly a third of the album – and it doesn’t last long (although it returns later). An 8-note cello breakdown and the return of the trumpet are better reasons to appreciate the song. But as the album continues to unfold and these elements continue to clash, listeners will be challenged to form an opinion. Do I like this? If not, can I stand this? Was this what I expected? Was it worth the wait? Were my expectations too high?
Perhaps we did put too much on The Pirate Ship Quintet, just as we did on Yndi Halda (and where is your album, boys?). In our rush to find The Next Big Thing, we ignored an obvious gift: A Good Thing Now. And The Pirate Ship Quintet continues to be A Good Thing Now. Their audience may be shifting – post-rock to post-metal, instrumental to screamo – but it would be hypocritical for us to ask artists to try new things and then to slam them for it. We prefer instrumental – that’s us. But we also recognize quality in different forms – and that’s The Pirate Ship Quintet. (Richard Allen)
a closer listen 