Easy Run (8.25k)

Thursdays are usually “tempo” day; 8k or 40 minutes, whatever comes first.  However, as I’m easing back into the run program this week I’m giving myself permission to ease off the pace a bit (or, altogether) in favor of something between steady and comfortable as I’d also like to ride this evening as well.  Plus, it’s hot n’ shitty out again (21° with 40% humidity) so, yeah, “easy” does it.  I’m choosing something then that also fluctuates between steady and comfortable, specifically the ‘You, You’re A History In Rust‘  by Do Make Say Think.

you-you-re-a-history-in-rust-cover

This album represents the 5th release by the Toronto-based post rockers, released on February 12, 2007 in Europe and February 26, 2007 in the rest of the world.

The album begins with a brief, minor-key modal piano and jazzy snare and cymbals intro that sounds an awful lot like an homage to Talk Talk‘s atmospheric masterpiece, ‘Laughing Stock‘…easily an album that would appear on my Desert Island list (along with ‘Spirit of Eden‘).  Hmm.  Maybe I should pull out that album for a future yoga session as well.  However, the album quickly veers from that intro into more familiar DMST terrain, but Mark Hollis and company’s seminal record is an apropos touchstone for the bands songs, which are built with similar emphasis on mood, texture, and dramatic ebb and flow. Like its excellent predecessor, ‘Winter Hymn Country Hymn Secret Hymn‘, Rust was recorded in DMST’s favored remote haunts, and the old barns and cottages provide sympathetic ambience for the band’s increasingly organic sound. Many of the themes seem plucked – quite literally on the John Fahey-like ‘A Tender History in Rust‘ – from the air, furtive patterns that appear like flickering shadows before they’re given weight by the band’s elegant horns, electric guitars, and two-drummer attack.

There’s a suite-like nature to most of the songs, for which the opening track offers a blueprint of sorts.  After its Talk Talk-like intro, ‘Bound to Be That Way‘ slowly emerges with an intricate riff which the band then takes through several wardrobe changes – atmospheric keyboard washes, blaring horns, and guitar rave-ups – before deconstructing the riff back into its elemental parts.  The dynamic shifts are seamless and fully engaging, as the theme switches between acoustic folk, dubby weirdness, and free music breakdowns.  ‘Herstory of Glory‘  takes a like-minded approach, though the subtle accent changes – primarily vibes, marimba, and synth swells – give it a droning Tortoise-like momentum. With seven core contributors and a host of guests, the band can also generate blunt-force power when it wants.  The furiously paced ‘The Universe!‘  states its theme emphatically and rocks throughout like a lost instrumental track from Zeppelin’s ‘Physical Graffiti‘, still leaving room for exploratory nuance with time signatures and tempos that shift at crucial junctures.  ‘Executioner Blues‘  is equally explosive, the slow-burn build-up and gentle denouement framing its massive, guitar-army crescendo. Even when the band display their loose-limbed side, as they do on ‘You, You’re Awesome‘, which begins with bare-bones blues guitar and morphs into a drunken waltz as the rest of the band joins in, the purposefully sloppy feel is buttressed by the melody’s inherent dignity.  You can say the same about virtually all of the songs on this record.

There would seem to be few frontiers left for a band whose decade-long instrumental rock adventure has explored dub, drone, jazz, electronica and a host of other post-rock approaches, as well as the more organic/acoustic vibe of their recent fare. But since their records have never featured lyrics (voices, yes; lyrics, no), two tracks with actual words would seem to make for a radical switch in aesthetics.  Not really, though.  ‘A with Living‘, co-written with and sung by the Great Lake Swimmers‘ Tony Dekker and Toronto fixture Alex Lukashevsky, is the most evocative, but still shifts in and out of focus enough to offer the appearance of a traditional song without the rigid structure – the gentle outro even features the disembodied voices of the Akron/Family clan doing their “oohs” and “ahs”  thing.  And the stunning album-ender ‘In Mind‘  features only a chorus-like refrain – “When you die, you’ll have to leave them behind/You should keep that in mind/When you keep that in mind, you’ll find a love as big as the sky” – raised heavenward on a procession of acoustic guitar, banjo, glockenspiel, electric guitar, synth noise and Beatles’ horns, creating a crescendo that could be the poster song for transcendence.

The run was…hot.  It’s still overcast but, Jeepers!  I started out with a pretty decent pace of just over 5:00min/km  but the motivation to continue that pace was pretty much sucked out of me after the first kilometer or so. Fuck it…I[‘m just jogging without stopping.  that was the new goal, which I did…all 8.25k worth of them through Crystal Beach in 47:37.  Nothing to be terribly proud of but, hey, I did burn off an extra 623 calories and my legs are fresh enough still that I can still ride this evening another 60-70 kilometers with the Buddha group.  So that’s something positive.

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About crazytigerrabbitman

I am a fat guy and always will be in the same way they say that “once an alcoholic; always an alcoholic”. Eventually I got upset about my poor health and ballooning body frame so I decided to change things for the better. Some people sign up for Weight Watchers, Jenny Craig, or whatever fad diet program it is that happens to be occupying the majority of air time on the boob tube. Other people prefer to run out and purchase the latest, fold away, piece of shit being hawked by some celebrity has-been. Me? I decided to take up triathlon. I had abused my body over the years with bacon cheeseburgers, pints of beer and double-dipped donuts, and the time had now come to abuse my body with physical exertion, perseverance and hard work instead; penitence in it's purest form. The time had come to kick my ass. I am Terry Nash and I am the “fat and the furious”.
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