Repetition works. I didn’t particularly need any reminding of that statement – after all, certain sub-genres of music have already established repetition as their foundations, such as some forms of electronica, not to mention krautrock – but when it’s used by a band to deliberately rein themselves in, it is so much more effective. Atlanta, Georgia’s All the Saints [Facebook] would know all about that, because their impeccable sense of restraint is what makes their second album, Intro to Fractions, such a compelling listen. It’s not the most immediate album around by any stretch of the imagination, but it’s packed with melodic urgency and drive.
Had its creators wanted to go all-out, their new record would have been overwhelming. They’re much better off with crafting a different kind of intensity, though – the songs on this album rarely, if ever, cut loose, the band preferring to build on what’s already been laid down rather then veering off into new tangents. The changes in texture and dynamics are incredibly subtle, meaning that Intro to Fractions needs to be listened to quite closely. It’s a very rewarding 35 minutes, and the group’s shoegaze-inspired compositions reveal themselves over multiple listens. It’s the kind of album that needs to be paid attention to, even if, in relative terms, not that much goes on. Are you following?
Gradual crescendos seem to be the order of the day: opener Half Red, Half Way gets by on one chord for most of the song, spiralling towards a speaker-shredding climax that the likes of My Bloody Valentine would be proud of. The production is far more refined, however – things aren’t maxed out, and are given plenty of breathing space, meaning that when things get loud – as the close of Alteration proves – they have double the impact.
Some songs here are deliberately left in an unpolished state. The hazy psychedelia evident on 4H Trip is meant as a segue into the next part of the album; as a sort of interlude after the claustrophobic feel of its opening songs. It bleeds nicely into Host, one of the more menacing-sounding songs on the record, reverb-soaked vocals underpinned by simple yet potent drumming and a chill-inducing bassline.
There aren’t really many criticisms that can be levelled at Intro to Fractions. One would probably expect an album like it to fall off on the back half; the opposite is true, and it ends up getting better as it goes on, the result being a promising beginning, an intriguing middle (with the band making sure to keep things as diverse as they can manage) and a rewarding end. It may be a little difficult to stomach for some people, but the important thing is that it remains focused throughout. With very little – guitar, bass, drums and vocals, no trimmings – it gets rather a lot done.
