[10.02] It was with some trepidation that I pressed "play" a few weeks ago after first receiving my review copy of these radico-Canadians' newest release. The question in my mind was this: can they continue building on their previous momentous work? Or is the path they have been on so narrow that it will be impossible to come up with something that sounds like evolution? These questions mattered to me as I prepared to listen, because Godspeed You Black Emperor! is one of those "important" bands that neither bore me, nor leave me cold. In other words, fairly rare. Their music is not inaccessible, just demanding. They create violently beautiful, devastating music. This isn't background music or soundtrack material, it demands to stand center-stage. It is as satisfying as it is likely to scare the hell out of you.

As usual they have produced exquisite cover art, accompanied by political statements delivered in their signature staccato, symbolic, no-punctuation voice. GSYBE is notoriously media-shy, but their political messages are a bit more overt on this release. The back of the album outlines the corporate ties between the large record companies and the weapons industry. The title, Yanqui U.X.O. (unexploded ordinance), and the accompanying liner notes do not exactly sound like promo materials for U.S. foreign policy. Aside from that, though, they stick mainly to music making and let us draw our own conclusions (thankfully).

The first thing that hit me about the music was the flatness of the sound. I thought someone had been messing with my stereo's settings, but no, after much adjustment it still sounded the same. I glanced at the info sheet again, and then it became clear: produced by Steve Albini. Unfortunately, I don't think Albini is the best complement to GSYBE—their sound really needs to be fuller, richer and deeper than what Albini conjures up. Still, after a few more listens (with and without headphones), I got past the sound and into the music.

So, have GSYBE evolved from their last album? No one quite manages to create music the way they do. Complex, yet quite simple in its evolving, repeating patterns. Moody and quiet, yet ready to tear every limb off your body. Cinematic and dark, yet building to such rattling highs that you think the world is ready to crumble around your ears. GSYBE uses that old trick of taking a theme and repeating and varying it to splendid effect. While classical and popular music may build and exploit musical themes in different ways and for different purposes, GSYBE stands at the intersection of rock and chamber music. Sort of like Kronos Quartet playing with the Stooges, hammering out patterns with increasing intensity and desperation. And indeed, they use the instrumentation of both styles of music: Bass, drums, guitars and various string instruments make up their sonic assault.

Yanqui U.X.O. doesn't display much experimentation with the GSYBE style. There are none of the sound bites or samples they have used in the past to help build a story—this album is completely instrumental. There are also more ambient parts than in their previous efforts, some a tad directionless. But this is a minor gripe -- out of the 75 or so minutes, only a few short parts sound aimless. Maybe they wanted to take a bit of the throttle off, let us breathe for a few seconds. The music still grows to the same crazy heights, and the last track sounds closer to a rock-out than I have ever heard from them. Track 4 is probably the song that diverges most from their normal fare—starting with some brightly plucked tones and glockenspiel (?) that segues into an almost giddy celtic jig (!). But fear not, it transmutes into a dark flurry of violins sending off sparks as it builds to its climax, then dying off into a moody, ambient surf guitar dirge that goes on for almost 20 minutes until it lands softly.

In the end, Yanqui U.X.O. is as unforgettable an album as one would have hoped for, even if I am a bit disappointed with the sound. And, as incredible a live band as GSYBE is, I can only look forward to seeing them play this material on stage soon. —Nils