One long, beautiful note years in the making
What compels a band to make a comeback after 15 years? Clearly, it wasn’t boredom for Black Ox Orkestar since the members are involved in many other projects, notably Godspeed You! Black Emperor. It was not a sudden burst of creative energy since Everything Returns is not far removed from the rest of their output. Their comeback announcement in Jewish Currents rather than a music magazine hints that politics inspired a revival, as fears of modern fascism and anti-Semitism mirror the band’s bleakest output to date. Regardless of the rationale, the band is still as unique as ever, a blend of dour indie rock a la The National with Eastern European folk topped by predominantly Yiddish lyrics. Sadly, the beauty of the music only goes so far with tedious song lengths and vocals that are an acquired taste.
There are hints of the production of Ver Tanzt and the sharper edges and more animated wildness of Nisht Azoy. For example, the pronounced stomp and fat tuba on “Oysgeforn / Bessarabian Hora” and the livelier mandolin and bass on “Moldovan Zhok” would have fit right in Nisht Azoy. Sad folk was always their core identity, but Everything Returns is the most melancholic affair yet. It features more piano that hits the most solemn notes possible, the bass saws away at the slowest tempo and the clarinet and violins contribute to the main miserable melodies. Even with dense instrumentals, none of the songs feel cluttered or busy. It’s a gorgeous synthesis of disparate styles into a hermetic whole. The only exception is the percussion halfway through “Skotschne” sounding out of step with every other instrument.
The biggest and best change comes in the vocals, previously handled almost entirely by Scott Gilmore. Now, Jessica Moss contributes backing vocals, and her serene delivery fits with the ghostly atmosphere on “Perpetual Peace” and “Viderkol (Echo).” While it contrasts nicely with Gilmore’s rougher tone, the results are mixed when he is forced to carry songs on his own. His more restrained performances against the wet pluck of acoustics of “Epigenetik” or the ballad-like “Viderkol (Echo)” work well. Other times, the over-singing lacks the power to justify itself. He’s a better fit for the rougher edges of the previous two albums.
“Mizrakh Mi Ma’arav” was the first song released from Everything Returns, showcasing the band at their best. Translating to “east to west,” the song features lyrics in Yiddish, Arabic, English, Hebrew and German, symbolizing the journey and identities that many migrants and refugees shift through. Gilmore’s delivery is more controlled, the harmonies with Moss are the best and most dramatic on the album, and the violins and clarinet move with fluidity yet hit with impact when allowed to soar. Most importantly and uniquely, it earns its run time with a sense of change. While the album is shorter than its predecessor, it’s also not as energized, so the length is felt more intently.
15 years later, little has changed for Black Ox Orkestar, yet what has changed might be to their detriment. Gilmore’s polarizing delivery is not a good fit for the semi-new direction. However, the music is more beautiful and layered than ever, and their fascinating blend of influences is still prominent. It’s a good jumping on-point for those who have yet to experience their maverick style, though those left cold by them 15 years ago may find little reason to change their mind.
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