{"id":68748,"date":"2018-09-03T15:00:52","date_gmt":"2018-09-03T14:00:52","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=68748"},"modified":"2018-09-02T20:06:34","modified_gmt":"2018-09-02T19:06:34","slug":"review-el-ten-eleven-bankers-hill","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/review-el-ten-eleven-bankers-hill\/","title":{"rendered":"Review: El Ten Eleven – Banker\u2019s Hill"},"content":{"rendered":"

\"\"<\/a>Nothing about El Ten Eleven<\/b> as a band is particularly standard. Their entire setup consists of drums, a double-necked (and sometimes fretless) bass and a collection of loop pedals, yet they\u2019ve amassed a surprisingly sizable fanbase for themselves going into their seventh album. Of course, size is all relative in this case (this is instrumental post-rock after all), but credit where it\u2019s due – they\u2019ve made consistently headway by respectively forging their own path.<\/p>\n

It also helps that the music is good too, and \u2019Banker\u2019s Hill\u2019<\/i> hits just the right number of sweet spots to be a perfectly entertaining listen. The experimental edge is what really takes the duo over the top, shunning most pretentious grandeur for more direct, almost poppy tones. It leads to moments like the snappy, croaking synth-bass on \u2019Phenomenal Problems\u2019<\/i> or the rubbery \u2019Gyroscopic Precession\u2019<\/i> that feel so much more immediate and brimming with personality, and it\u2019s definitely a welcome treat.<\/p>\n