When considering the title, one might imagine the answer as “sound,” as the post-rock collective Hanry, as the album, or all three. Defined as a “meditation on emergence,” What Came From Silence is a celebration of music and a coming-out party for the French band, who has released a series of EPs and singles leading up to this full-length debut.
The core trio becomes a quintet for this release, the typical post-rock setup enhanced by piano, cello and electronics. In deference to the title, the set starts with “Noise Drowns Out,” which rises from silence rather than attacking; this smooth entry allows the theme of emergence to take hold. The background sheen is like a drone upon which the percussion – both organic and inorganic – begins to dance, after which the guitars are slowly mixed in like eggs to a cake.
The first big post-rock moment arrives at 2:59 of this opening piece, as the instruments take a big breath, hold it for a moment, and then let it out, producing a magnetic burst that has already been fairly compared to Explosions in the Sky. Many such moments will dot the album, which flows beautifully from beginning to end. The final crunchy seconds cede space to one last piano note, which serves as a reminder: noise may drown out silence, but silence can also drown out noise.
Bass-driven single “Aurora” follows, working perfectly in context, but demonstrating why the full album is more important than the singles. Removed from such context, the track is appealing, yet unlike the opening piece, its calming melodies contain only minor eruptions. What Came From Silence is far more than the sum of its parts, and deserves to be heard as a whole. This way, one may view “Aurora” as the trough from which “Dustwake” rises, bearing an increasing dramatic tension. In like fashion, the contrast between sedate piano and agitated electronics in the next piece yields to a surprising sweetness as the elements are reconciled and topple into a happy tempo surge.
By the end of “Time’s Collapsing,” the album has settled into a literal rhythm. Every sound has found its place, and the collective seems jubilant. The idea of time collapsing becomes less of an end-of-the-world scenario as the sensation of losing track of time. This all culminates in the nine-minute closer, “Phantom Rush,” the band flexes its muscles to produce a two-part anthem, their longest piece to date. Hearkening back to “Noise Drowns Out,” the track produces a bookend moment at 1:39, increasing one’s appreciation of the album as a whole; the pause and attack is repeated exactly two minutes later, to even greater heights. A train track timbre connects both parts, the second borrowing from modern composition to end in elegant fashion.
Perhaps thanks to the rigors of touring and the experience of producing shorter sets, Hanry has produced a debut that is head and shoulders over many of its post-rock peers. What Came From Silence is subtle enough to distort time, but specific enough to demand it; as soon as the album is over, one wants to hear it again. (Richard Allen)
a closer listen 