Cry Monster Cry
Rhythm of Dawn
Artist of the month
Photo by Hazel Coonagh Photography
www.hazelcoonagh.com
Review by Sarah Swinburne
Cry Monster Cry have been making waves
recently in the capitals music scene. Dublin
brothers Richie and Jamie Martin have been
making and experimenting with music since
childhood. In their own words, Rhythm of
Dawn is “…a work of transition. The record
charts the journey from night to morning in a
cyclical theme sewn throughout the music,
sounds and subject matter”.
This is quite an apt description they have
succeeded triumphantly in their endeavour of
making this album a ‘dusk to dawn’ voyage.
From the nightingale to the lark (both of which
feature either lyrically or musically), birds are
a running motif in both words and melody to
spectacular effect. The inclusion of extramusical thematic patterns give the record an
artistic and poetic bent which distances Cry
Monster Cry from ‘just-the-tunes’ bands and
marks them as interdisciplinary artists carving
a path of their own. Rhythm of Dawn is a
concept album, but utterly without pretension.
The first track ‘Darkest Hour, Longest Day’
sets up the record beautifully. Totally addictive
and alluring, this song sparks of the thematic
bearing of the album. Fresh and crystal clear
vocals permeate the pacing acoustic guitar
before the song builds to a haunting
crepuscular finish. This is one the finest
opening tracks to an album in the last few
years. The harmonies at the close of the song
have the added bonus of being exactly the sort
to get stuck in your head for the next week.
This song smoothly transitions into ‘Atlas’,
whose harmonies are highly reminiscent of Of
Monsters and Men. The chorus however, has
echoes of Mumford and Sons, with the
muffled, otherworldly feel of MGMT – albeit
a much more sedate and mature version.
‘Gelert’s Grave’ signifies the cold hour before
dawn. This is perhaps the most lyrically
brilliant song on the record. The lark is
described as “…the ink in the well that made
me the poet” – a line worthy of Nick Cave.
Their latest single ‘Postcards’ is a pivotal
point in the album (be sure to check out our
earlier review of it here). This marks the point
in the night when the barest hint of warmth
begins to fill the air. This is done by
introducing a very subtle brass section,
heralding the dawn in the background. Another
honourable mention is ‘On Tangled Shores’. It
begins with a slowly strumming guitar which
brings to mind the opening bars of
Radiohead’s ‘Exit Music for a Film’.
Indeed this song would be an ideal inclusion
to any rain-drenched urban film. It is sparse
and plaintive but building to a gentle
5.0
crescendo, which allows the tender words and
pure vocals to shine through.
The last song ‘Homebird’ represents the
dawn chorus, in fact, the last two minutes of
this eight minute track is dedicated to
gradually fading birdsong. Brisk and upbeat,
this song is an almost pastoral elegy to the
morning. The soaring vocals coupled with a
brightly burning violin