indie rock
Banker’s Hill is an album released by American indie rock duo El Ten Eleven, from Southern California, composed by musicians Tim Fogarty and Kristian Dunn. With an interesting style, exceptionally charming, flamboyant and captivating, the duo really knows how to create a beautiful, graceful and poetic work of art, that can be masterly colossal and consistent, but – at the same time – exceedingly simple, rustic and devoid of pretentious ambitions. Amazingly energetic, with abundantly effective and elegant harmonies, Banker’s Hill is a fascinating record, that subtlety elevates in the collision of its own atmosphere of sensible qualities the ascending components of its formidable layers of creativity.
Forty three minutes long, the record has nine tracks: Three And A Half High And Rising, Phenomenal Problems, You Are Enough, We Don’t Have A Sail But We Have A Rudder, Gyroscopic Precession, Banker’s Hill, Listening to Cloud, Reverie and
This Morning With Her, Having Coffee. With an exceptional level of beauty, Banker’s Hill displays an abundant, pure and intriguing level of sophisticated graciousness, throughout an ever patient, but meticulous universe of fantastic harmonies, that are ostensibly simple at the core of its anatomy, although they do present a sensible and endurable level of artistic profoundness, that enables you to deeply submerge into their allegorical world of preciously sonorous dissertation of laboriously existential expansion.
Despite the fact that – at least in certain passages – they pass through more conventional musical boundaries, that could mistake them as a more ordinary indie rock act, their sound consciously travel to common ground boundaries to subvert them in very subtle, but genuinely creative ordeals, that surpass in an extraordinary level their own irreplaceable musical intentions. With a sound that appears to be almost visual at certain melodic scenarios, the splendid virtuosities that emerge from El Ten Eleven’s music is explicitly surreal, and the soft mordacity that comes out of its nucleus of vibrating sensibilities certainly can be highlighted as one of its most peculiar qualities.
With a music that emerges as the perfect soundtrack for a melancholy afternoon in the suburb, Banker’s Hill is an everlasting elegy for a life with glorious serenity and reflexive tranquility. As a weaker point to be described, their sound exhibits some uniform tendencies in certain passages, giving space to monotony. Nevertheless, this is not enough to provoke any damage to their music – nor to this album in particular –, that reveals itself a formidable and increasingly pleasant work to be enthusiastically appreciated. Certainly, a very different, more original and creative style upon which indie rock is reinvented, Banker’s Hill is an amazing album, that deserves to be extensively recognized and celebrated.
Wagner
Forty three minutes long, the record has nine tracks: Three And A Half High And Rising, Phenomenal Problems, You Are Enough, We Don’t Have A Sail But We Have A Rudder, Gyroscopic Precession, Banker’s Hill, Listening to Cloud, Reverie and
This Morning With Her, Having Coffee. With an exceptional level of beauty, Banker’s Hill displays an abundant, pure and intriguing level of sophisticated graciousness, throughout an ever patient, but meticulous universe of fantastic harmonies, that are ostensibly simple at the core of its anatomy, although they do present a sensible and endurable level of artistic profoundness, that enables you to deeply submerge into their allegorical world of preciously sonorous dissertation of laboriously existential expansion.
Despite the fact that – at least in certain passages – they pass through more conventional musical boundaries, that could mistake them as a more ordinary indie rock act, their sound consciously travel to common ground boundaries to subvert them in very subtle, but genuinely creative ordeals, that surpass in an extraordinary level their own irreplaceable musical intentions. With a sound that appears to be almost visual at certain melodic scenarios, the splendid virtuosities that emerge from El Ten Eleven’s music is explicitly surreal, and the soft mordacity that comes out of its nucleus of vibrating sensibilities certainly can be highlighted as one of its most peculiar qualities.
With a music that emerges as the perfect soundtrack for a melancholy afternoon in the suburb, Banker’s Hill is an everlasting elegy for a life with glorious serenity and reflexive tranquility. As a weaker point to be described, their sound exhibits some uniform tendencies in certain passages, giving space to monotony. Nevertheless, this is not enough to provoke any damage to their music – nor to this album in particular –, that reveals itself a formidable and increasingly pleasant work to be enthusiastically appreciated. Certainly, a very different, more original and creative style upon which indie rock is reinvented, Banker’s Hill is an amazing album, that deserves to be extensively recognized and celebrated.
Wagner
