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Put your hands on the remote! browse music »The Good Night by Victory at Sea
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fave it Emo | Math Rock
10 tracks | 33 minutes
Released Oct 2003
on Kimchee Records
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- sample lyrics "DOWNLOAD" 03:41 Mary in June lyrics BUY MP3 03:41 Mary in June lyrics "GIFT MP3" 03:41 Mary in June
- sample lyrics "DOWNLOAD" 03:37 Canyon lyrics BUY MP3 03:37 Canyon lyrics "GIFT MP3" 03:37 Canyon
- sample lyrics "DOWNLOAD" 05:17 The Liar lyrics BUY MP3 05:17 The Liar lyrics "GIFT MP3" 05:17 The Liar
- sample lyrics "DOWNLOAD" 01:53 Old Harbor lyrics BUY MP3 01:53 Old Harbor lyrics "GIFT MP3" 01:53 Old Harbor
- sample lyrics "DOWNLOAD" 02:50 Proper Time lyrics BUY MP3 02:50 Proper Time lyrics "GIFT MP3" 02:50 Proper Time
- sample lyrics "DOWNLOAD" 03:40 Sunny Days lyrics BUY MP3 03:40 Sunny Days lyrics "GIFT MP3" 03:40 Sunny Days
- sample lyrics "DOWNLOAD" 01:56 A Song for Brian lyrics BUY MP3 01:56 A Song for Brian lyrics "GIFT MP3" 01:56 A Song for Brian
- sample lyrics "DOWNLOAD" 03:46 The Bluebird of Happiness lyrics BUY MP3 03:46 The Bluebird of Happiness lyrics "GIFT MP3" 03:46 The Bluebird of Happiness
- sample lyrics "DOWNLOAD" 04:09 Kelly's Landing lyrics BUY MP3 04:09 Kelly's Landing lyrics "GIFT MP3" 04:09 Kelly's Landing
- sample lyrics "DOWNLOAD" 02:28 Firefly lyrics BUY MP3 02:28 Firefly lyrics "GIFT MP3" 02:28 Firefly
Desperation and hopelessness never sounded so good.
Editorial review
The Good Night is a wonderfully ironic title for Victory at Sea's third and strongest record; though their slow, simmering sound revels in nocturnal languor, the pervasive aura is anything but restful, evoking the stark mysteries and creeping dread of the darkness with unnerving precision. Comparisons to PJ Harvey's early Dry-era work seem inevitable, but the brute emotional force of Mona Elliott's haunted vocals and grim lyrics is tempered by moments of unexpected simplicity and beauty that set The Good Night apart. Its structure is likewise unique: Opening with the smoldering "Mary in June," the record seems to crumble in a kind of psychic free fall, with the songs growing progressively starker and more affecting as they count down. ~ Jason Ankeny, All Music Guide
Bio / Background
Victory at Sea had their rudimentary beginnings in 1994 when Mona Elliott, late of Taang! recording artists Spore, hooked up with Swirlies singer/guitarist Christina Files, who had offered to contribute her drumming to the Elliott solo repertoire. Mel Lederman, veteran of various Boston bands, was later invited to play bass. The three became a full-time working entity by 1996 and over the next two years released two singles and an EP on the Villa Villakula and Magic Eye labels.
The Dark is Just the Night, their full-length debut on Slowdime Records, followed in 1999. Christina then left the band and spirited upstart Fin Moore got called to take over the drum seat. It's then that Kimchee Records arrived on the scene to release a split EP with Victory at Sea and Helms as well as their sophomore long player Carousel in 2001. By 2002 Finny was gone and Carl Eklof had arrived, emoting like original drummer Files but also pushing the envelope like Moore did.
↓ more ↓And just in time to give live support to their latest album The Good Night comes Taro Hatanaka on violin. Hold it, wait! It's January 2003 and drummer #4 has arrived in the person of Dave Norton.
Victory at Sea make sound that is as morose as it is beautiful, as stunning as it is depressive. Mining deep psychic strata, the trio skillfully expose raw nerve to dim light, knowing when to musically tiptoe into trauma as well as how to break through with sonic ferocity. In this music-as-commerce world they can almost sound too real. If you haven't already fallen victim to the twin sirens of derivative song and rock gloss, you should find their catalog utterly seductive, in turn warming and chilling in its depths
No, the melancholy hasn't lifted in Victory at Sea's third full-length. The Good Night is another long day's journey into the pervading darkness. The sadness is expressed here from the outset with a trio of furious rock songs that smolder with repressed rage and introduce an emotional landscape similar to that of their previous album Carousel. There is immediacy to these tracks, which number among the band's strongest offerings. Mona Elliott wails on voice and guitar; new drummer Carl Eklof pounds, retreats, then pounds again; and Mel Ledermen lays down his bedrock bass.
But then in the succeeding songs The Good Night starts to get quieter... and quieter. Lederman brings some piano into the mix, the guitars are toned down and drums are muted, and everything gets more exposed. It's a brave move, as Victory at Sea's traditionally dire lyrical concerns are musically rendered with a stark simplicity never before assayed by the band. In the process they discover a new archetype for their sound, and The Good Night finds its soul.
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