By Grant Kelly, Contributor

[Constellation; 2024]

Rating: 7/10

Key Tracks: “BABYS IN A THUNDERCLOUD,” “RAINDROPS CAST IN LEAD,” “PALE SPECTATOR TAKES PHOTOGRAPHS”

In late August of 2024, Canadian post-rock collective Godspeed You! Black Emperor announced their soon-to-be eighth studio album. While the group has historically been politically vocal, this announcement was still a jarring one even for dedicated fans. In place of the alluring, cryptic poeticism that would ordinarily guide listeners to deciphering the underlying themes of their work was instead a stark declaration: “As of 13 February 2024 28,340 dead.” The title, or lack thereof, was in reference to the reported number of Palestinian deaths by Israeli strikes since the Israeli invasion of Gaza in October 2023. “What gestures make sense while tiny bodies fall? What context? What broken melody?” the band asked rhetorically in the lead up to the album’s release. I have to agree with the sentiment – would it not be distasteful to make a more overtly artful statement in the face of such a grave, immediate crisis? As artists, what are you actually meant to do with your platform? It’s an idea that audiences are forced to reckon with throughout the course of the album.

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The first two tracks of the album are remarkably organic in sound, and prove that the band still has a knack for establishing atmosphere. “SUN IS A HOLE SUN IS VAPORS” brings in skittering, brushed percussion and sharp, upright bass plucks that make the piece feel animated yet inhuman, like dust being swept up in the wind. Similarly, the following “BABYS IN A THUNDERCLOUD” mimics the feeling of a passing storm, with waves of heavy guitar distortion that are eventually broken up by a triumphant unison melody that the band joins in on. As the track continues, and more wailing guitars cut through the noise to harmonize with the rest of the band, it begins to instill feelings of hope despite its urgency, echoing the idea of human resilience in the midst of suffering that can be found in many of the band’s previous recordings.  

“RAINDROPS CAST IN LEAD” opens with a sound that’s hard to place, though it evokes an image of a creaking, abandoned swing set. Placed in contrast with a deep, imposing drone, there is a palpable theme of desolation established in the first half of the song. This theme is built upon as the track continues with a Spanish spoken word passage that, when translated, provides a devastating reflection on the way innocent lives are taken before they are ever given a chance at life as a result of war. However, while it sets itself up to be a very emotionally moving piece, the second half of the track starts to lose itself. This section carries a much more energetic and seemingly uplifting tone, which while an exciting piece in isolation, creates an odd tonal dissonance in context that leaves the audience unsure what to come away from the song feeling

Fortunately, the album manages to regain its footing pretty quickly. “PALE SPECTATOR TAKES PHOTOGRAPHS” opens with an array of whirring and whining machine-like electronic textures that fade in and out amidst a thundering bass drum pulse. This song also claims the album’s most menacing instrumental build, with atonal droning guitars and constant bass drum hits that eventually give way to a cacophony of squealing guitars and ringing bells, making for a deservedly crushing crescendo. As the track draws to a close, the ascending and descending riff that guides the band during the last portion of the track leaves it on a justified note of uncertainty. Finally, all the instruments drop out except for a somber, solo guitar, which creates a profound parallel with the opening of the piece; the former mechanical electronic tones are cold and unfeeling, while the latter is aching and emotive. 

“GREY RUBBLE – GREEN SHOOTS”, the album’s only single, begins with a pensive whisper that expands into one of the most beautiful instrumental passages on the record, before it gradually cascades into something more gently melancholic. It’s on this track that I think the opposing themes of despair and hope throughout the album are represented together most effectively.

One of the most powerful moments on No Title, however, is one that many listeners will unfortunately be unaware of. Side D of the vinyl release of the album contains a roughly 15-minute, untitled ambient piece with a profoundly apocalyptic atmosphere. The track is built around a chilling drone reminiscent of the band’s earlier work, but with a greater emphasis on noisy textures and distorted guitar tones that sound almost like screaming at points. It’s easily the most off-putting portion of an already discomforting record, and essential to seek out for anyone invested in the album or the band’s work as a whole.

While I generally enjoyed what the album has to offer, I would be remiss to not address some of the criticisms put forth against it by fans and detractors alike, particularly in the way its message is presented. For one, it has been questioned how much the songs that make up the album are actually related to the subject matter at hand, since only a few make tangible references to it, and some of the pieces lack a coherent thematic focus. This is a valid observation, and while I certainly don’t think the band is being disingenuous with their advocacy for Palestine, the emotionally scattershot nature of portions of the album make it easy for me to see how one might get that impression. 

Additionally, it may be worth questioning why, if their reverence towards the cause was so great that they neglected an album title so as to not detract attention from the ongoing brutality, would the same not apply to the songs themselves? I don’t find the song titles to be inherently disrespectful – in fact they’re fairly thought-provoking – but as it stands, the fact that they carry the typical Godspeed You! Black Emperor naming convention clashes with the otherwise sobering, off-character statement made with the title. Maybe it would have come across more earnest if they had left the tracks untitled. Maybe it would just make the experience of it duller. Maybe I’m dedicating too much thought to something that wasn’t meant to be central to the work. It’s worth noting these things, at least.  

Conceptually, No Title has some undoubtedly powerful moments, but I’m unsure if it delivers its message as effectively as it could. Musically though, I feel comfortable calling this album some of the band’s strongest work in years. 

Listen here: https://open.spotify.com/album/1qG30zCAZ30hsmA5wAlaQ3