YANG: Rejoice!

YANG, the post-rock outfit led by French guitarist Frédéric L’Epée continues to expand their sonic landscape with Rejoice. L'Épée, a seasoned figure in the progressive rock realm and former member of avant-garde bands Shylock and Philharmonie, infuses YANG's sound with his signature precision and emotional weight. Since their inception in the mid-2000s, YANG has crafted a distinct blend of post-rock, progressive rock, and classical elements, creating sweeping instrumental compositions that are as intricate as they are evocative. Known for their meticulous guitar work and dynamic shifts, YANG's music takes listeners on an emotional and cerebral journey.

In Rejoice, YANG sharpen their skills in instrumental storytelling. The band expertly navigates the balance between tension and release, building soundscapes that oscillate between atmospheric calm and thunderous crescendos. The interplay of the instruments, especially the guitars, highlights their technical brilliance while maintaining a sense of fluidity and natural progression.

The album opens with "Step Inside," a track that immediately grabs attention with its tight guitar interplay and dramatic shifts in mood. The chemistry between the guitarists is nothing short of captivating, as they weave together intricate melodies with Volodia Brice's thundering backbeats, creating a dynamic sound that is both mesmerizing and hard-hitting.

A standout track, "La Quatrième Mort/La Vie Lumineuse," introduces guest vocalist Carla Kihlstedt of California-based Sleepytime Gorilla Museum, whose haunting vocals lend a new dimension to YANG's sound. The delicate balance of light and shadow in this track perfectly reflects the album's underlying theme of hope emerging from chaos. Kihlstedt's voice floats over the shifting instrumentation, adding an eerie beauty that lingers long after the song ends.

"Entanglement" is a masterclass in contrast, blending urgency and tranquility through intricate guitar voicings. The track's midsection features a captivating melody, which emerges more clearly as Kihlstedt's contrasting vocals set the stage for a build-up that is as unpredictable as it is satisfying.

The album closes with "The Final Day," a somber meditation on themes of mass extinction and climate change. Yet, despite the weighty subject matter, the track carries an unexpected sense of catharsis. The elegant interplay of guitars and the sense of finality in the composition leave the listener reflecting on the fragility of the world but with a strange sense of peace.

The production, typical of Cuneiform Records' high standards, is flawless, allowing each layer of the music—from the subtlest guitar harmonics to the towering crescendos—to shine. Listening to YANG is like riding a rollercoaster through sound—full of thrilling twists, breathtaking drops, and moments of unexpected beauty.

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