October 9, 2008

Goldmund: "Two Point Discrimination".

Type artist Keith Kenniff has always been one to wear his shroud of mystery obligingly, as his multiple monikers/stylistic variation/virtuosity might attest, and 2007’s Two Point Discrimination strays nary a step from that path laden with shadows and personal demons, not surprisingly. Under his piano-ballad project title Goldmund, Kenniff sees your heartbreak turned heartache and raises you a dejected soundscape to suit your overly emotional mentality. The music contained within Goldmund’s latest EP would soar above the clouds, would conjure up images of heaven and the Almighty, if it weren’t so consumed by the heavy blanket of melancholy that chokes every note of its grandeur. This property, though off-putting descriptively, lends the music every bit of its majestic insolubility and effectiveness in deteriorating that thick, coagulated membrane around our hearts caused by too many years of unemotionally impacting pop rock and cheesy poofs. Where 2005’s Corduroy Road explored life’s delicacy and subtlety by recognizing and showcasing the pieces for their musical textures instead of their weight or strength as melodic piano instrumentals, Two Point Discrimination works to strip them even more of their musical casings and instrumental confines, opting for more experimental techniques and a continued use of atonality to flesh out these beautifully moving anti-ballads. The result is a mini-album crafted out of the ashes of despair and hopelessness, long after the sting has diminished yet resonating closely enough to draw out the mournful afterbirth that initially fed our inner-turmoil. Yes, it’s dark, it’s a party-pooper, and it will undoubtedly evoke those things from within that otherwise have no benefit to our eight-to-five reality, but that’s exactly what makes it so necessary, and so refreshing. Two Point Discrimination proves that healing can be found “leading from light to shadow”, and that only then will we “see as one”.
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