The Gizeh family is a wide one, but Angela Chan seems to be at every gathering. She contributed vocals to FareWell Poetry’s album and is half of A-Sun Amissa along with Richard Knox. She’s also the violist for the 7-part band Tomorrow We Sail, whose newest single is making a play for the recently vacated spot once held by stage mates Her Name Is Calla. On the new single (a follow-up to last year’s The White Rose and a predecessor to an album), we hear plaintive vocals, breakdowns and builds, and most importantly, strings. We are not particularly keen on the vocals, as they seem unnecessary here, but the power is in the instrumentation. When the 13-minute track kicks into high gear, it’s nigh-unstoppable, a pleasant surprise after its languid but pleasing 2-track predecessor.
Two key paths for a genre to avoid extinction are mutation and integration. The former involves pushing a genre into territories unknown; the latter involves the inclusion of more mainstream elements. Tomorrow We Sail seems to be taking the latter path. As much as we hate to say this, vocals may be the best chance of keeping post-rock alive. But the thrill of the track lies in the string sequence that dominates the final five minutes. As the approach changes from long notes to short, the music erupts: first with 3:00 left, again with 1:27, and most importantly again at 0:27, when it’s just strings. All post-rock fans love crescendoes, and Tomorrow We Sail is oh-so-happy to oblige. This is the song that makes us look forward to the album; For Rosa is a success. (Richard Allen)