{"id":67456,"date":"2018-07-25T18:00:30","date_gmt":"2018-07-25T17:00:30","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=67456"},"modified":"2018-07-23T20:05:36","modified_gmt":"2018-07-23T19:05:36","slug":"review-talons-we-all-know","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/review-talons-we-all-know\/","title":{"rendered":"Review: Talons – We All Know"},"content":{"rendered":"

\"\"<\/a>It says a lot that Talons<\/b> managed to win over even non-post-rock fans with 2014\u2019s \u2019New Topographics\u2019<\/i>. Then again, it\u2019s not exactly surprising, given the layers and eclecticism that album had compared to their peers, driven by twin violin lines and unmistakable world music influences. It leads to an album with a distinct, engaging personality, something that\u2019s become more and more of a rarity in instrumental post-rock.<\/p>\n

It\u2019s clear how much of that has gone into \u2019We All Know\u2019<\/i> too, this time with the sextet branching out even further and embracing a whole myriad of new styles. This alone is a major cornerstone of why it works so well. The ethereal \u2019Southern Shade\u2019<\/i> is a far cry from the building maelstrom of \u2019Movements On Seven\u2019<\/i>, yet\u00a0Talons<\/b> are still able to find ways in which each disparate piece can play off each other for a bigger picture. It\u2019s definitely fragmented at points, but it\u2019s frequently enrapturing without ever simply falling away into the background.
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