25376. Teargas & Plateglass - [Black Triage #01] Introduction
25377. Teargas & Plateglass - [Black Triage #02] Plague Burial
25378. Teargas & Plateglass - [Black Triage #03] One Day Across the Valley
25379. Teargas & Plateglass - [Black Triage #04] Kuomintang
25380. Teargas & Plateglass - [Black Triage #05] Simplify the Landscape With Darkness
25381. Teargas & Plateglass - [Black Triage #06] Behold the Sea of Ills So Vast
25382. Teargas & Plateglass - [Black Triage #07] Pray for Night to Fall
25383. Teargas & Plateglass - [Black Triage #08] L'Hopital de Martyrs
25384. Teargas & Plateglass - [Black Triage #09] Book of Black Valentines
25385. Teargas & Plateglass - [Black Triage #10] Seduction of Canned Laughter
25386. Teargas & Plateglass - [Black Triage #11] Fury of an Arroused Spectator
25387. Teargas & Plateglass - [Black Triage #12] Rain Falling On Ann's Grave
25388. Teargas & Plateglass - [Black Triage #13] Haengyong (Bonus Track)
25389. Teargas & Plateglass - [Black Triage #14] Age of Dust (Bonus Track)
Usually albums built on emotions sound like hokey post-rock bullshit. The reason is because most post-rock is more suited for a fucking movie soundtrack than an actually good album. Emotion becomes overwrought, everything has to be epic and with violins and horns and walls of sound and of course, the fucking titles all have to be the size of Tony Everready's dick.
There are of course albums that are built off emotion that come across very well; if you don't know this you don't know anything about fucking music. But for primarily instrumental albums, it seems to be impossible to create any sense of subtlety. I've seen it a few times, and one of the best examples is Godspeed You! Black Emperor's f#a#, which tackles the theme of the apocalypse and the idea of the world ending with a whimper and more importantly doesn't fuck around with bullshit. I never thought I'd find another album like that again.
And then this little gem comes out of nowhere.
Despite being on the X-Men 3 soundtrack (or perhaps because the movie was so shit, due to), no one seems to know about this album. I had it recommended as music like Burial's Untrue (further down the list) and so I gave it a listen with some headphones on.
And a few minutes later I was in another world. A world of dead Bosnians.
That's really what this album is about. Genocide, genocide, genocide. The dead are all over this, and it's a fucking scary album. I was in a well lit room surrounded by people talking and drinking coffee and I was breathing hard and incredibly nervous. This is not a pleasant album, but goddammit, it's a necessary album.
If I had to think of a single visual image to go with this album...got one.
In Saving Private Ryan's famous opening scene, the one that gave a lot of veterans PTSD flashbacks (good job Hollywood), there's a scene where the sound goes off, and you see this man, looking around for something on the floor, and then he picks up his own arm.
That little scene and this album go together perfectly; a quiet moment of complete and utter horror. This is such a good album. I don't know what else to say. If Amon Tobin had come out of Hersegovina, he'd make this album.
Absolutely perfect and terrifying. It gets number 3, even if no one else has heard of it.
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