The Silent Type - Of Writing/Of Violence

The Silent Type
Of Writing/Of Violence
Limekiln Records
Grade: A-/A

This is a review that I’ve put off writing for far too long now. It is not from being lazy or anything, but this Silent Type record is so stunning that Exoduster kept considering it for artist of the month but it just fell short a couple of times to other contestants. With better conscience I can write this review and discuss the phenomenal Richmond-based The Silent Type.

Initially forming in 2000 as a solo outlet for Nathan Altice, the Silent Type strayed and wandered for a couple of years with a demo and split with Gregor Samsa before a more solid lineup was secured in 2002. This lineup includes Amber Blankenship (piano, violin and vocals), Billy Mutter (bass), Jared Laine (drums), Nick Wurz (guitar) and Altice. With this thick and full band, the Silent Type started developing the nine songs that would become their full-length debut Of Writing/Of Violence. Besides from the core five-piece, the band also utilized a number of outside players including vocals from Maura Davis of the exceptional though ill-fated Denali.

Of Writing/Of Violence starts out on “Kneel” where guitars and bass meander for a minute or so before being confronted by a wave of strings. It is at this point that you realize this is going to be a brilliant opener. At two-and-a-half minutes in, Altice opens the vocals and is soon joined by Blankenship’s vocals and the song continues to dazzle. Even though “Kneel” is over seven minutes, it never feels like any space is being foolishly used. “Ink and Blood” is considerably more uptempo rock and offers the image of the Silent Type as your favorite indie rock band that seethes with that localized sound; a sort of catchy, poppy appeal that is the opposite of commercial polished. Taking a step back, pianos greet the listener on “Soon Enough We’ll Be Found Out” and despite a solid chorus the song is on a melancholy tip. Altice takes to the acoustic guitar on “Vacant Hotel Lobby” as the music moves to singer-songwriter panache but doesn’t stick out as off pace. “Some Curious and Beautiful Maps” features Davis’ ‘dueting’ with Altice, where both use a Belle and Sebastian vocal cadence on the down-tempo affair. What really sets “Some Curious and Beautiful Maps” apart from the rest is a top-notch chorus that doesn’t try to slam you with pop but does draw in your attention. The six-minute number also allows the Silent Type and friends to include nearly even instrument they know on the two-minute instrumental conclusion. The Silent Type includes Sunny Day Real Estate’s Jeremy Enigk’s “Oh John” with a little banjo love, but not necessarily a complete success. The tempo is subsequently picked up on “The Gift,” which is strong if not average mid-tempo indie number. The title track finds the Silent Type drawing on Americana folk with Altice leading the six-minute number on vocals and acoustic number. Of Writing/Of Violence closes in similar fashion to how it began on “Zeppelin.” That is, a plus-seven-minute song that features a preponderance of impressive strings, yet here Altice’s vocals are slightly distorted and minimalized as you feel waves washing over you.

Even though it took a long time for the Silent Type to unleash their debut full-length, and almost as long for me to write about, it is clear that these nine songs are well-worth the time. While the causal listener may demand more catchiness, the moments are there and met with thick instrumental constructions that many more will appreciate. I just hope it won’t take as long for a follow-up to be released.