People call Tangents a “post-everything” band. Ya, fuck that shit.
Tangents is an instrumental band. What’s so fucking hard about that? They swim in the same waters as Four Tet, E.S.T., and Radiohead. And chances are if you like listening to any of these bands you’ll probably enjoy Tangents. “Well,” some asshole might say, “Four Tet is electronic, E.S.T. is jazz, and Radiohead is virtually undefinable. How can one band sound similar to all of them?” My answer to this is really quite simple: fuck your face. If you’re one of those assholes that thinks nobody understands music like you do, well, guess what, cock breath? You’re going to die alone and unrecognized unless you stop acting like an entitled douchebag and join the rest of the world. So, stop pouting like a cynical child pile-driving cookie crumbs into your face from the crinkled corner of a cookie bag and come join the rest of us as we attempt to fix and find our place in this fucked up little world.
That’s right, I just totally showed that imaginary asshole.
Anyone who has listened to these three bands will understand what I’m talking about. Each band takes a different road but they each arrive at the same place. In fact, most of the time, these motherfuckers have to cross genre lines in order to get there. There are easily identifiable jazz and electronic features in Radiohead, E.S.T. prided themselves on using rock and electronic techniques, and Four Tet’s focus has always been authentic-sounding instrumentals in the electronic music. I would even argue that these bands required the freedom to genre-hop in order to become what they are.
Tangents allows a shitton of freedom in their music. In that way, I group them closer to E.S.T., jazz in general, or post-rock. Their music is always driving forward, yet there is this incredible freedom and air that can only come when improvisation is your fuck buddy. Their instrumentation choice is fucking fantastic. Sometimes you’ll hear electronics, strings, or these pot and pan sounding motherfuckers, anything that helps get them where they want to go.
The growth that this Australian quintet has shown in this album revolves around having a central theme and plain old time spent playing together. Their first few albums are good, but they sound more like a “hey, wanna fuck around on these instruments and call it a day?” type of thing. Whereas “New Bodies” has a tight cohesion that comes when you play with the same fucking people for a while. Sure, the price of this unity may have been breathing the same fart-filled air when driving to the next gig and sharing the same cold, but it’s paid off. They know each other and work together like a singular entity. It’s like they’ve morphed into a goddamn Power Ranger Megazord of fucking music and now they’re kicking intergalactic ass. If this doesn’t sound compelling to you, enjoy the fucking cookies.