Rock Plaza Central Are We Not Horses Rareing
Rock Plaza Central - are we not horses? Well I’ve seen some horrible things Like a sea of white wings And I’ve done some horrible things Lies in the. Lyrics to 'Are We Not Horses?' By Rock Plaza Central. Well I’ve seen some horrible things / Like a sea of white wings / And I’ve done some horrible things / Lies. Download Free Rapidshare Carbon Copy Cloner For Windows here.
This article needs additional citations for. Unsourced material may be challenged and removed. (June 2008) () Are We Not Horses by Released 2006 Length 38: 51 / chronology (2003) 2003 Are We Not Horses (2006) (2009) 2009 Professional ratings Review scores Source Rating (8.4/10) Are We Not Horses is an album. Despite being first released independently, the disc made many top ten lists for 2006, including #8 for CMJ Editor-in-Chief Kenny Herzog, Pitchfork staff writer Stephen Deusner and Americana-UK lead writer David Cowling. Because the album did not receive an official US release through Yep Roc Records until mid-2007, it made several [ ] of those year-end lists as well, including 's '10 Great Hidden Treasures of 2007', calling it '2007's finest folk/rock find'. The album has also recently been taught in a graduate English course at the, alongside frontman Chris Eaton's first novel, 2003's The Inactivist.
Track listing [ ] • 'I Am an Excellent Steel Horse' – 3:12 • 'How Shall I to Heaven Aspire?' – 2:02 • 'My Children, Be Joyful' – 5:51 • 'Anthem for the Already Defeated' – 2:03 • 'Fifteen Hands' – 3:50 • 'Are We Not Horses?' – 3:06 • 'When We Go, How We Go (Part 1)' – 2:25 • 'Our Pasts, Like Lighthouses' – 4:13 • '8/14/03' – 0:56 • 'Our Hearts Will Not Rust' – 3:44 • 'When We Go, How We Go (Part II)' – 3:25 • 'We've Got a Lot to Be Glad For' – 3:58 References [ ].
This would have been the perfect opportunity for a concept review. The situation almost demands it. Toronto-based Rock Plaza Central's Are We Not Horses?
Is after all a concept album, a song cycle about mechanical horses programmed to think they're real horses, the implication being that their artificial minds and souls still act like real ones. And they're caught in the middle of an epic war between good and evil. And their story is conveyed in Chris Eaton's high-flying wail of a voice, an odd instrument that would be completely off-putting if it weren't so touching in its derangement.
All those elements just beg for a review that's equally far-fetched and out-there, something weird and coolly obtuse. But for an unsigned band that most readers will not have heard prior to reading this piece, I fear that approach would be useless, more a showcase for the critic's questionable indulgences than an engaged assessment of an album that should find a wide audience in the indie realm.
Even worse, such a concept review might give the wrong impression of not just Are We Not Horses?, but of Rock Plaza Central itself, a loose collective of Toronto musicians that sculpts epic indie-folk curios from Eaton's odd and oddly affecting lyrics. The horse thing is a crucial but not defining part of this beguiling, often beautiful album, so concentrating too much on that part of it threatens to paint these songs as cartoonish and detached from the world they want to portray-- especially considering all the annoying indie acts dressed up like stuffed animals these days. In truth, even after abandoning the concept review idea, I feel the burden of responsibility to describe for you music that often seems just beyond the reach of verbs and adjectives-- Fiona Stewart's swirling violin running tangent to the melodies; those demonstrative horns volleying fanfares across Eaton's vocals; the unsettling unraveling of 'My Children, Be Joyful' and closer 'We've Got a Lot to Be Glad For'; the way songs bend themselves into a heraldic sing-alongs, as if Eaton is leading a congregation in hymns. His vocals and the band's liberal application of brass instruments have inspired many comparisons to Neutral Milk Hotel, but in truth, Are We Not Horses? Recalls Okkervil River's similarly hoofed Black Sheep Boy in the metaphoric potential of its anthropomorphism as well as in its considerable musical accomplishment.