By the title, it can be hard to tell what is the album, and what is the band. To clear up confusion, Silver Mt. Zion is the band, and they’ve been creating music since the critically acclaimed debut album, He Has Left Us Alone but Shafts of Light Sometimes Grace the Corner of Our Rooms…. They’re a group that expanded off of Godspeed You! Black Emperor’s Efrim Menuck and this is practically his own personal project, and I’m even hesitant to call it a side project. Menuck doesn’t like to consider the band “post-rock”, although it follows the characteristics very closely, and he prefers to say it sticks to punk-rock aesthetics which does make some sort of sense.
Fuck Off Get Free We Pour Light On Everything expands on the recent SMZ releases of anti political regime with incredibly vast assortment of instruments. This is probably the most anticipated post-rock release of the year, and knowing it comes so early is like a late Christmas gift. It opens with the classic field recording of a young girl describing Montreal from her point of view. I’m surprised how quickly the band jumps into a flowing pace. There’s no crescendo build, the band just takes off with a solid jam of blaring guitars and drums. “Fuck Off Get Free (For The Island Of Montreal)” is one of the highest points on the album, and it’s the first track there is. Clearly, the group takes no time to fill you in, they hit you square in the face from the get-go.
Efrim is one of the most underrated musicians in today’s scene. Even though Godspeed is constantly considered the best band of today, Efrim should be one of the best musicians for his hair alone. He’s participated in many projects around Montreal, tours, and still finds time to record great records with his two bands. Now Fuck Off Get Free.. stands tall among the recent slew of post-rock releases, arguably being the best since the 2012 album, ‘Allelujah! Don’t Bend! Ascend!, which was the best album of 2012 might I remind you. It’s far more accessible, and fast pace. Plus the addition of vocals changes up the sometimes daunting elements of the genre.
We witness a lot of different ideas taking place on this album. It has the generic post-rock style that adores crescendos, a chamber pop sound that can be heard on the beginning of “Austerity Blues” and “Little Ones Run” (which is beautifully executed) , and even drone elements heard on “Rains Thru The Roof At The Grande Ballroom (For Capital Steez)”. I’m going to touch on that subject quickly of the Capital Steez shout out. Now the death of the young Pro-Era rapper is extremely heartbreaking, but I pass up Menuck and Moya (who’s from GY!BE) as being isolationists from the rest of the musical world. Seeing he dedicated a piece of music of his to a genre and musician who exemplifies the complete opposite of what he stands for in music is incredible. I have a lot of respect for that. You have to wonder what made him decide to follow through with that decision, but either way surprises should be expected with any members of the Montreal post-rock scene.
Menuck still stands to me as someone who constantly shocks the music industry. This time it sees him sticking to a more conventional, but still incredible route that leads him to the release of a uniquely wonderful album. Fuck Off Get Free We Pour Light On Everything definitely is one of the best titles I’ve heard in music, only comparable to a release by Fiona Apple, and yet it kicks ass. It’s in your face with extreme amounts of sound packed into one little section of music, and competes against the most touching and soft ballads out today. There’s two sides to this album; it’s considered another provocative release by a band that gets a kick out of sharing their opinion, or a need to be heard in new light, embracing the other experiences of performers through a medium of their own.
Check out the full album below!