There are only so many colours with which to paint, only so many words, and a limited amount of sounds that an artist can use. And once they’ve exhausted every possibility, if they’re a good enough artist, they’ll realise that none of them are enough to help describe the world. That’s why Minor Manor shoots for abstraction over description and experimentation over pop songs form on “Corridors.” If you’re looking for an apt soundtrack to modern visual art, this might be it.
Reality does leave a lot to be imagined, as Lennon is to have said, and you won’t get very far by using outdated maps or using maps at all. Songwriters, painters, and movie directors have all tried to sneak as close to “regular people” as they could. However, the shots are blurry, and the songs are about real life, which always leaves the listener thinking there has to be more to the story.
Berlin trio Minor Manor is done seeing the world as it is. And the musicians aren’t about to fall for some hippie ideal about seeing the world as it should be. On their album “Corridors”, the band distorts reality to the point where all that you have left are a few sharp lines and no coordinates as to where they lead.
“Corridors” is best enjoyed as a psych-rock experience where you start with no expectations and let the music blow you in whichever direction it will. By its sound, Minor Manor took a similar approach, letting the music dictate where it needed to go.
The album’s “Intro” opens with a tense arpeggiated guitar line before crashing into a grunge groove. This won’t be music meant to accompany a smooth ride, but rather the soundtrack to a plane falling nose-first into a South American jungle.
“Papam!” uses a similar dynamic. But, this time, the maddening crescendo is delivered only after a minimalist guitar solo has been used. And “Riposte”, with its almost tribal-sounding drum beat, seems to sketch out the tale of some great battle. Watch out for the punk-rock-sounding middle part.
Yes, Minor Manor likes to work within a song format where brevity is usually thrown out the window. But this is because the band’s greatest strength is to tell stories. Like all great stories, these have a beginning, middle and end. You’ll find yourself waiting to hear the band hit full-throttle. And, just like a plane waiting to take off, space and time are needed if full speed is to be reached.
But the German band ain’t no one trick pony either. While many of the numbers sound as if they began as rehearsal room jams, there are plenty of sounds and grooves with which the band works.
“Self-Control” benefits from great propulsion, is manic sounding, and the lead riffs bring to mind Matt Bellamy’s guitar work. Then again, the imaginatively titled “Tzatziki” suggests that the band could have a future playing a yacht, entertaining British tourists taking a tour of the Greek islands if they should ever need a side gig. Meanwhile, “Adrift” plays on themes of melancholy and nostalgia.
Where does it all leave us? Minor Manor likes a touch of trouble, a bit of trouble swirling around the mind. They use this as fuel for the collective musical imagination. Album closer “Tumulte” is a good indicator of what the German band’s formula is. Calming guitar riffs and jazzy grooves lead into a tense middle section before the distortion pedals and higher BPMs are engaged for the glorious finale.
There are only so many words and sounds with which a songwriter can work. But they won’t describe the world. The best that talented people can do is allow themselves to hear what is needed of them and react.
In plain terms, “Corridors” is an album designed to accompany dreamers and mathematicians. It’s a sturdy post-rock release. The playing is imaginative. The songs are well constructed. I appreciate the effort that went into this.
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