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taking a listen

by Ryan Snyder

reviews of the moment

DAVID WIMBISH & THE COLLECTION

— David Wimbish & the Collection With their self-titled debut album, David Wimbish & the Collection assert that contemporary spirituals can be uplifting and compelling without falling prey to the triteness and banality that plagues nontraditional Christian music as a whole. Wimbish’s outfit is a folk ensemble that can claim upwards of a dozen players at any given time, and the release utilizes all of the musical resources at his disposal. Horns, strings both plucked and bowed, glockenspiels and a host of keys all settle comfortably into place beneath Wimbish’s fluttery lilts and shouted, sometimes stream-of-consciousness refrains. Empty space amidst the complex arrangements is used to startling effect, with the only constant in closer “Dirt” being an obstinate banjo melody as bowed bass and flute phase in and out. The most remarkable thing about the record, however, is how Wimbish uses updated Biblical themes in the album’s narrative alongside personal relationships with the divine and the mortal; they’re treated with the care of a skillful storyteller rather than a bludgeoning proselytizer.

80/100

The Collection will perform at CFBG on Saturday with Knives of Spain.

BURGLAR F**KER

— The Demonweb EP Listening to the debut The Demonweb EP from Winston- Salem noise trio Burglar F**ker is like ordering a slice of pie from a K&W. Beneath the thick, artificial meringue of din and distortion is more noise. There’s enough to hurt your teeth without ever really getting the satisfaction that was inherent to the ’80s noisecore bands like Blind Idiot God and Napalm Death that appear to inform them. But if bone-crushing dissonance is your thing, then you might just enjoy the five-track offering that includes songs with the titles “1,” “2,” “3,” “4” and so on. The EP is mostly an exercise in pissing the neighbors off, peppered with laser noises seemingly inspired by Buckethead’s Giant Robot and heavily reverbed, atonal blasts of sax that recall a cover band of John Zorn’s Naked City. The cut “3” ultimately teases with a doomy hint of melody, but otherwise it’s an arduous march to the epic thrash finale “5.”

59/100

Burglar F**ker will play Elliott’s Revue this Friday

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