Redjetson introduce themselves to the music audience with this “New General
Catalogue" and with the favor of Bloc Party (had I said Rolling Stones...), who
seem to have appreciated its sound. Forget the post-wave frenzies of Kele Okereke's
band, here we're sailing towards Codeine, Mogwai and the slowcore/post-rock crowd,
singing all the way. Now, it's not that we want to wield the cleaver of the most
uncompromising criticism at all costs, but tell me if it's possible to offer, in the year 2006, a
sound that is already the property of musical archaeology museums. Well, yes, if the
sound tended toward an evolution of the original sound, or if we
found ourselves faced with songs so beautiful and accomplished as to push into the background
plane the rest. But are we in the presence of what's been described? No, unfortunately for us the
band rehashes, in calligraphic fashion, a decade's worth of slow-burning rock, never quite landing
on a memorable melody or a distinctive arrangement. Psychedelia? Not much of it.
Existential yearning? Don't even mention it. What's left? Sincerity and commitment,
which certainly come through, but that's not enough to turn the songs into good songs.
There is something with the strength to rise above mediocrity,
starting with “Perseverance Works”, an almost five-minute dirge that makes use
the example of masters Seam in the guise of limpid melodies that interlock right up to
the final explosion in a bacchanal of distortion. Also notable is “New
Europe”, with a droney crescendo à la Earth over which a faint
acoustic guitar arpeggio is layered, along with a wavering trumpet outro evoking those
mountainous landscapes photographed in the booklet.
Everything else falls in line
with the classic slowcore and guitar-heavy post-rock template, meaning
alternations of quiet-loud-quiet, a bit of melancholy, the odd riff
that's just slightly rockier… the rest is boredom, some might say.
And forgive us,
Redjetson, but we really can't find any good reason to recommend
buying this record.
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30/04/2026
This article is an English translation of the original Italian text by Antonio Ciarletta, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.