In an ideal world, “‘NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD’” would probably not exist, let alone be named what it is as a response to the genocide in Gaza that the world is watching. It’s a tragedy that the death count has increased considerably, and it hurts to put names and faces to these statistics. Nobody should have been killed. Still, dreaming in ideals without taking action to better the world at large does a disservice for everyone in the physical world who are being tortured, hurt and killed as we speak. As much as we try to ignore these brutal truths about human nature, legendary instrumental post-rock band Godspeed You! Black Emperor (often abbreviated to GY!BE) mourns and pays tribute to those murdered in the genocide the best way they know how that isn’t direct advocacy and activism: art.
Don’t be surprised that it’s only six tracks; if there’s one thing GY!BE is notorious for, it’s their long compositions making up for short tracklists. While this may deter many people, especially those not interested in experimental and avant-garde art, those who stay will likely become entranced by the droning, slightly folky and utterly beautiful instrument work.
In some of their work following their seven-year hiatus from 2003 to 2010, they opted to split the longer songs into multiple movements in order to get more streaming revenue, most notably for 2017’s “Luciferian Towers.” However, GY!BE chose to keep the longer songs continuous and flowing for “‘NO TITLE.’”
“SUN IS A HOLE SUN IS VAPORS” is a foreboding intro to the album. Greeted with just a droning instrument and electronic humming that sounds like it’s coming from a fridge, such a dreary soundscape is similar to ambient and electronic noise artist Uboa’s “The Origin of My Depression.” A ray of hope reveals itself in the bright, yet somewhat languid guitars. The piece ends more optimistically than it started, having a plucked bass in the mix as well as light cymbal crashing.
“BABYS IN A THUNDERCLOUD” is a highlight on this record. The way the sound builds up into the lead slide guitar playing a blues-adjacent melody is beautiful. Furthermore, the way the violin develops in the composition is incredible, majestic overall. The galloping drums reinforce this majesty. In general, the way GY!BE incorporates other influences and unconventional instrumentation into their post-rock and chamber rock base makes for an enthralling listen that feels logical.
“RAINDROPS CAST IN LEAD,” which may be a euphemism for bombs or bullets falling from the sky, begins with this quiet and awkward whistle sound that pans between both ears. It only begins to really build up three minutes and 45 seconds in. Five minutes and 35 seconds in, the energy dies down and a monologue sample of a woman speaking in Spanish is played over the instrumental. After the monologue, the composition begins to feel a bit like bluegrass music, but in a non-stereotypical way that one would consider country and country-adjacent music. The violin is once again a key instrument in this song, being the lead melody at times as the guitar bubbles underneath. The song eventually builds up into a grandiose wall of sound with a triumphant lead electric guitar melody.
“BROKEN SPIRES AT DEAD KAPITAL” is a comparatively short and desolate ambient track that feels cold and lonely. It strongly captures the feeling of isolation, and later on, despair, without saying anything at all. The cello-like stringed instrument at the end was such a good touch for conveying sharp and negative emotions.
“PALE SPECTATOR TAKES PHOTOGRAPHS” begins intimidatingly with a thumping kick drum and more droning guitars. It wouldn’t be out of place if Michael Gira of the avant-garde rock band Swans began singing on it. This song probably has the scariest usage of a bell ever. Six minutes and 18 seconds in, the entire mood of the song changes for something more sentimental and vulnerable, similar to the climax of GY!BE’s song “Sleep” from “Lift Your Skinny Fists Like Antennas to Heaven.” The composition then grows more intimidating again, similar to someone regaining the resolve to stand up for themselves and persevere.
The lead single for “‘NO TITLE,’” “GREY RUBBLE — GREEN SHOOTS,” is surprisingly the final song of the record and not somewhere in the middle considering its promotion. The soaring electric bass was such a great touch to the beginning of the song. When the song builds up, the violin takes the main stage, giving a heart-wrenching yet somewhat uplifting performance.
It’s possible to argue that “‘NO TITLE’” could be a spiritual successor to 2003’s “Yanqui U.X.O.” for how cinematic it is. However, where “Yanqui” is just cinematic post-rock for the sake of being cinematic post-rock, “‘NO TITLE’” is a reflection of current events and how helpless we may feel because of human suffering. The least we can do is memorialize and preserve the memories of the dead in the hopes that something like this will never happen again. Art is simply a catalyst for inspiration and change with engaging ways of preserving memories for the future.
4.25/5
When did the ICJ declare the Gaza war a genocide? Repeating it again and again in the DC does not make it true.
Would you prefer ethnic cleansing, then? Or self-defense. Are you some hasbara bot employed by the IDF to try and save the floundering PR war? Give it up already: with each passing day, Israel becomes more and more exposed for the bloodthirsty, murderous ethnostate it is.