Cymbals Eat Guitars - Why There Are Mountains (Cover Artwork)

Cymbals Eat Guitars

Cymbals Eat Guitars: Why There Are MountainsWhy There Are Mountains (2009)

Reviewer Rating: 5
User Rating:

Contributed by: greg0rbgreg0rb
(others by this writer | submit your own)

I will readily admit that I visit Pitchfork nearly every day and this probably comes as no surprise to most of you regular Orgers. While I hate their elitist tendencies and willingness to mercilessly crush bands they once propped up, I continue to visit because I have been turned on to several unden.
iTunes StoreAmazon

I will readily admit that I visit Pitchfork nearly every day and this probably comes as no surprise to most of you regular Orgers. While I hate their elitist tendencies and willingness to mercilessly crush bands they once propped up, I continue to visit because I have been turned on to several undeniably great bands through them. If you avoid the site like the plague you have probably not heard of the band Cymbals Eat Guitars, as I've only seen them mentioned in a few places thus far. But I expect that to change very soon.

So allow me to relay the message to all of you punkers with a soft spot for unhinged, guitar-led, raspy-voiced indie rock about the next great NYC buzz band before they blow the fuck up. Cymbals Eat Guitars not only have an awesome name (maybe I love it more being a cymbal-crazy drummer who is often told he plays too loud), but they borrow across the country to an area known for birthing many of my favorite bands: the Northwest. I feel like I'm plagiarizing saying that yes, they borrow quite a bit from the aesthetics of Modest Mouse and Built to Spill, as that's what everyone so far has said about them. And that's cool with me, but better yet they simultaneously somehow don't sound derivative, except, say, during the power-disco bridge of "Cold Spring" that sounds Lonesome Crowded West-as-hell, and even that still rules as singer/guitarist Joseph D'Agostino barks in a very Brock-aping manner. And sure, when "And the Hazy Sea" starts truly dying down after its second wind, D'Agostino plays an elastic wah-pedal lead line that is super-Doug Marsch, but it feels so right you won't mind.

Cymbals structure and develop their songs in ways that nearly surpass their influences. They cover extreme louds and softs and shift tempos and feels seamlessly. I just mentioned "Cold Spring," but I must bring it up again as it is a perfect example. It starts off gently with D'Agostino crooning "On the wa-ay home!" and then smashes into that disco part. It dies down but quickly revs back up to a rockin' 3/4 (with a sweet sliding bassline by Neil Berenholz), then sneaks back to 4/4 to climax before a short cool-down finish. You will never mind their longer tracks because of this variety. And even the under-three-minute romp "Living North" has not one but two decrescendo sections sandwiched between uproarious refrains with its melodic guitar theme.

The young group borrows from heavily-mined influences from other corners of the globe as well, as the swirling ultra-fuzz guitars in the intro of "Share" sounds like they nabbed Kevin Shields for a guest spot. The thing about it is that, even as they borrow, they twist sounds into their realm, as "Share" eventually finds solid ground and builds with brass harmonies and a bending guitar solo.

Matthew Miller, who has been the groove behind D'Agostino since they were in 10th grade, lays down awesome but never showy beats and fills. I love the thunderous effect on his simple beat joining closer "Like Blood Does," and he later handles the tempo change effortlessly with a light, driving feel. The keyboards on the album were played by Daniel Baer, who has since left and been replaced by Brian Hamilton who, from live footage, keeps up with the parts nicely. The keys focus on organs, piano and chiming synth sounds and effects, filling the soundscape in a sweet contrast to the oft-harsh guitars, but also adding to the onslaught on occasion. "Indiana" never loses its focus with the catchiest vocal on the album, but it also showcases the record's studio flairs, which range from horns to strings to well-placed percussion, all the more surprising for a self-funded record. Thanks can surely go to Kyle "Slick" Johnson being at the helm, known previously for assisting in the engineering of the last Modest Mouse and Hives records. He caught an early live show and contacted the band, realizing their potential.

In an album full of high points, the highest peak of all is surely "Wind Phoenix (Proper Name)." The song, after twinkling wind chimes and bouncy bass, hits you with scalding trumpets followed soon after by the catchiest guitar lead you'll hear this year. But it's not all turned up to 11 here as they bring it down with faux-vibraphone keys while the song lightly shuffles along, only to later tear shit up again. My only minor problem with the album and the group is the limited ability to understand the lyrics, as I want to sing/scream along but can rarely understand what D'Agostino is laying down. From what I can tell, the lyrics are pretty cryptic, and here he says something like "Make love to inanimate objects." That's cool; whatever you're into dude.

As I gush about these guys I bring you the unfortunate fact that this album is a bitch to find. At the moment I only have MP3s of the album because of the lack of label and distribution. But you can buy it digitally if you go to their MySpace. The good news is that a very smart label (Sister's Den) has picked up the album and will give it a proper release with new cover art on September 22nd. I recommend this band to anyone who likes the abovementioned bands, but I must stress that even though the influences are obvious, Cymbals Eat Guitars are no copycat act, bringing incredible songwriting, interesting instrumentations, and undeniable melodies to the table. Check ??em out for yourself before Pitchfork decides they are now uncool.


People who liked this also liked:
Murder By Death - Bitter Drink, Bitter MoonThe Gaslight Anthem - The '59 SoundJapandroids - Celebration RockLaura Stevenson and the Cans - Sit ResistThe Sidekicks - Weight of AirThe Clash - London CallingTitus Andronicus - The MonitorModest Mouse - The Moon and AntarcticaThe Lawrence Arms - Oh! Calcutta!The Lawrence Arms - Buttsweat and Tears [7 inch]

Please login or register to post comments.What are the benefits of having a Punknews.org account?
  • Share your opinion by posting comments on the stories that interest you
  • Rate music and bands and help shape the weekly top ten
  • Let Punknews.org use your ratings to help you find bands and albums you might like
  • Customize features on the site to get the news the way you want.
Fine Print: The following comments are owned by whoever posted them. We are not respon sible for them in any way. Seriously.
slymer (May 19, 2010)

I tried to get into this. It's just boring.

xshoutoutx (August 4, 2009)

Why There Are Mountains > Farm

RRK (August 4, 2009)

score is for pitchfork

mikexdude (August 2, 2009)

This is really fucking awesome. Top 10 material -- haven't put it down all week.

greg0rb (August 2, 2009)

Score is for DreeamWeaver's inability to get excited over music. I feel sorry for ya, 'bro.'

shark-e (August 1, 2009)

"Staten Island?! Nothing good could ever possibly come out of Staten Island...."
What about that homeless guy who beat a peacock to death in a Burger King parking lot because he thought it was a devil?

DreeeamWeaver (August 1, 2009)

score is for the hjs you gave the band with one hand while you typed this review with the other. they were chafed, bro!

HeresLookinAtYou (August 1, 2009)

Staten Island?! Nothing good could ever possibly come out of Staten Island....

Nickmalone991 (July 31, 2009)

God, who cares what Pitchfork has or has not discovered nor what they think of it. You are shunned, good sir. Shunned...

Blackjaw_ (July 31, 2009)

This is pretty good, I'll give it that. But a perfect score seems a bit much in my opinion. There are better bands that have gained popularity through or been noticed by Pitchfork that still wouldn't deserve 5 stars. I'm not usually one to bitch about scores, and I still don't really care as much as it may seem, I'm just saying... I'd give it a Brian (3.5).

ricomedy (July 31, 2009)

I dig this record. The lack of distro thing is a little odd though. The album is on iTunes so it is pretty easily available to get in digital format.

Douglas_is_rad (July 31, 2009)

This is, honestly, the best album of the year so far for me. I haven't stopped listening daily ever since it came out. SO GOOD.

MyStereoHasMono (July 31, 2009)

Score is for Why There Are Mountains. Love it now until a year from now when every dude with a beard is creaming their tight jean shorts and you say you don't think they're that great.

thegreatestmanalive (July 31, 2009)

Fuck... good call. Their myspace page sounded pretty incredible. Definetly need to check it out

Exclusive Streams


Newest Reviews

Punknews.org Team

Managing Editor

Adam White

Contributing Editors

Kira Wisniewski Brittany Strummer Armando Olivas John Flynn Chris Moran John Gentile Mark Little

Copy Editor

Adam Eisenberg Britt Reiser

Podcast Producer

Greg Simpson


Aubin Paul

ISSN 1710-5366

© Copyright 1999-2013 Punknews.org

Terms of Use Privacy Policy Contact Us About Punknews.org

Other Places to Go