la dispute is a very vocal-driven act, so the value of the music is unlikely to reveal itself on immediate listen. these types of records consequently don't lend themselves to first impression reviews. these are the kinds of songs that you come back to at random places, that reveal themselves to you at the least expected....

you could hear the power of a line like "we are but hopeless lovers, we are the last of our kind, and if we let our hearts move outward we will never die." more or less immediately, but it took time - years - for the story to unfold itself, and the climax to actually present itself as such. the second record was certainly less ridiculous, all around; i wouldn't have guessed on first listen that it would be the clever language in harder harmonies that comes off as the high point on the record, i had to live it and digest it and experience it first. and, while i didn't spend very much time with the third record, i'm sure that somebody else has some similar stories about it. so, i'm not going to pretend i've digested this over a handful of listens - i haven't, and i don't know what's going to click over time, or if anything is going to click at all.

but, that third record. it seemed like a death blow; i didn't think there would be a fourth one. i saw them do a little acoustic set at the masonic temple in detroit, and they just came off like a third rate rem knockoff. i am a gigantic rem fan, and the singer, at least, has some obvious lyrical ability, so i wasn't opposed to the direction, but it just didn't execute. the record itself seemed flat and just kind of boring, and i want to take a minute to explore the point because the contrast here is what's most exciting about the new record...

i'm sure that a lot of their fans recoiled at the record by claiming it was "soft", or something. my tastes are too diverse for anything that gauche - i like "soft" music as much, if not more, than i like "heavy" music, whether it is hard or easy. these are qualitative terms, but they don't speak to the quality of the art. so, yeah. the record was kind of "soft". so what? a more poignant critique is that the band seemed like a fish out of water; they toned down too far too fast and in the process lost the plot, just kind of meandering on without much of a musical point. the record needed some kind of foil to itself, but the correct idea is not that it needed "heavier" outbursts, but some kind of tension and, when you use the right language, it's all of a sudden easy to understand why so many of their fans got kind of scared away by a la dispute record that had no tension in it - as the band is all about tension.

i can actually make the argument that i love la dispute for the same reason that i love rachmaninov. but, i'll spare you that.

but, what they needed here was not to bring back the heavy but to bring back the tension and they have actually done that. so, this is a return to form, in that sense.

however, the band is also clearly in the process of completely altering it's sound, and if you need the heavy rather than merely the tension then maybe you might want to check out something else.

is this going to work out in the long run, after all? well, michael stipe was a huge ian mackaye fan boy, you know. it just might.

https://ladispute.bandcamp.com/album/panorama