A Closer Listen
Seeing the “devotional” tag sneak back to the top of Grails‘ Bandcamp list, one knows to expect another shift. Since 2003, the chameleonic band has kept fans interested in their every move, while two individual members have thrown curveballs under the guise of Lilacs and Champagne.
So if lead single “Silver Bells,” which launches in a tape wobble and seems like a modern Sufi service, may remind listeners of another song of that name, it’s no coincidence; the title of the album, after all, is Miracle Music, and the cover seems to portray supplicants holding hands, bowed in prayer.
“Silver Bells” doesn’t take long to develop into a hypnotic post-rock piece, featuring a wall of beats and guitars, supplemented by Eastern ornamentation. It’s tempting to think that Grails may be using the album to comment on religion, but instead it seems they are using music to promote it; the music is indeed more devotional than tongue-in-cheek. The abraded chorus at the end of “Silver Bells” hints at a deeper meaning, an ineffable translation.
“Primeval Lite I-III” unfolds as a six-minute suite, tapping into the roots of faith: solo at first, then communal. When the brass enters, the track is elevated to processional levels; but then the entire piece sinks into a morass, a tangle of seemingly disconnected sounds that hint at the proliferation and splintering of religion. And if the beginning of “Earthly Life” sounds like a muffled prayer, the choral end feels like an answer, or at least the feeling of surrender while one waits for an answer.
While “Homemade Crucifix” hints at personal Christian faith, “Harmonious Living,” as well as the cover photo, suggests a community. The band does not preach; instead, their mystical, mysterious music is an invitation to commune with the Divine. In like fashion, the band’s psychedelic timbres suggest alternative communities and faith traditions. Stripped of titles, the music itself may spark a feeling of devotion; one may fall into a trance, get into the groove or rise with the transcendent melodies. Often a single track suggests different paths, as when “Strange Paradise” transfers its focus from elegant brass to improvised jazz.
“Open the door,” an unnamed narrator whispers at the beginning of the next piece; the plea may be directed at either deity or supplicant. By ending the album with a bare hint of choir, Grails tugs the spirit toward faith, while leaving the ultimate decision up to those who have ears. (Richard Allen)
Tue May 13 00:01:53 GMT 2025