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That’s pretty well reflected in that the anger evident in some of Part I has dropped away. It might well be that nobody gets out alive, but it is possible to have a good time whilst we’re here and find some kind of positivity in it all. Album Rating: 3.0Good album. As followers of Inner Edge Music know, I simply adore this band, so what follows is an admittedly biased review. It’s like there’s no certainty as to what affect is being manufactured. “El Ten Eleven Es Numero Uno” Written by Jason Reed October 10, 2017 The always impressive El Ten Eleven put on a great show this Sunday at SLO Brew in San Luis Obispo, CA. When El Ten Elven was released in 2004, on-demand music streaming services were still in their embryonic phase. Their music, wholly instrumental, is densely layered and relies upon Fogarty's electric or acoustic drums and Dunn's doubleneck guitar. Part II finds El Ten Eleven in their middle aged spread, content with life post-everything period. Since May, LA duo El Ten Eleven have been releasing a steady stream of albums under the Tautology name. El Ten Eleven is an American electronic/post-rock band based in California. The stretched-out dial-tone noise that frames the rest of the album first appears here and nearly every single track thereafter. Past whatever reason the duo deliberately dared such a torpid album, they’ve eminently achieved it. Down to a level below wakefulness, drifting in and out of the hypnagogic state, it effects a sort of pseudo-senility like two of the song titles suggest–“Caducity” and “Senescent.” It’s incredible how accurately they molded the sound to fit the title in “Caducity,” it’s extremely sad and has the ability to touch people even through its rudimentary production. It navigates without destination or purpose, instilling either a lost or wandering sensation that then finds itself in the structure of the next song, “The Silent Bell That Rings.” Shy, miniscule strumming sidles in and is greeted by low bass notes resonating through the apertures while all effects are temporarily disabled, giving it a stripped-down feeling devoid of any decor. However few the emissaries of this newly-pressed genre may swim in the mainstream, El Ten Eleven offer the paragon to neophytes of the brand; and by the prolificacy of this project, they present an entire textbook of an abounding amount (nearly two hours) of subject matter to study in their latest triple full-length LP collection Tautology I, II & III. Logan Blake November 7th, 2020 - 9:00 AM. Follow @mxdwn There are a few different influences bubbling under the surface now, in the shape of Post-Punk (New Order, The Cure) and Post Rock (Explosions In The Sky and 65Dos). Leyland Kirby’s six hour exploration of dementia Everywhere At The End Of Time under the moniker of The Caretaker for example was a truly harrowing experience. After a second part dropped in July, the third and final part arrived in September, meaning that it’s now possible to view/hear the Tautology project as a complete whole. Album Rating: 3.5Ya thanks, I wasn't sure if this was a part of the random album game or not, I was hesitant to submit this review. Whilst there is some percussion here and there, for the most part, all that invigorating propulsion that drove the first two parts is gone. Album Rating: 3.5Don't be afraid to leave a comment. Formed in 2004, the group consists of only two members, Kristian Dunn and Tim Fogarty. Shimmer wouldn’t be out of place on a My Bloody Valentine album, Nocture has Joy Division‘s DNA, and as the second part comes to an end with Growing Shorter, they’ve embraced post-rock, slowing things down, they’re ushering in the final part of Tautology which explores late life. Part I starts out exploring the teenage years and, as might be expected, it’s during this phase of the album the El Ten Eleven are at their most taut and angry. Connie is fucking fantastic. I'm glad this panned outThis Message Edited On 11.27.07. “Shimmer” bolsters with an accomplished kind of contentment, exemplifying the upbeat and cheery facet of the band’s musical ordnance as the stripped-down melody correlatively interplays with feedback permutations. I've heard good things about this, might listen to it in the not too distant future. El Ten Eleven’s teen years were, on this evidence, spent listening to a lot of post-hardcore. Part I being full of piss and vinegar, teenage vim (and depression, according to Dunn), Part II fills out around the gut, ponders its lawn and settles into middle-age, whilst Part III puts the kettle on and wants to tell you about “her next door”. Well, imagine rock music as one knows it, pour acetone over its visage and then replace its atomic structure with a Play-Doh model of it. Album Rating: 5.0Just saw them live for $ well spent, Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z. The first chapter in El Ten Eleven's new three-part musical journey seems to be written entirely in the third person and drained of all impulse for narrative twists. Like a tautology, Tautology I, II & III contains truth, but no one to proclaim it, and it telegraphs its singular truth over and over hoping its automatic logic might reach an organic ear through hopeless repetition. There’s also a sense of opening up and space too. These are far more impressionistic, soft-focus compositions. album reviews, live music reviews, interviews, features. Since May, LA duo El Ten Eleven have been releasing a steady stream of albums under the Tautology name. There are occasional forays into slightly more soft focus territory, such as the hazy synth intro to Moral Dynamite, but this is soon swept aside by wiry bass attack and thunderous drumming. Alice Coote / Christian Blackshaw @ Wigmore Hall, London. Not exactly head-down, hardcore scree, it’s more considered and grown up that that. It opens rather inversely with a ten-minute opener, “Entropy,” which is an apt self-description. Judging from what I know about them from that album, you did well here. The final stanza of the three-piece is significantly more toned-down and minimal, so much so that each track is comparable to a protracted sigh save an occasional ambient flourish or two to disrupt the monotony. “Moral Dynamite” has a strange warbling fax-machine-like monotone that’s also conceivable as a glitched ice-cream truck soundtrack against ambient splashes and bass blasts. A project attempting to map out the journey of life could be an intensely dense and potentially depressing affair, particularly when addressing the later chapters.

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