While many acts in this vein can fall into that trap, it’s abundantly pronounced and transparent here nonetheless. Rather, they pen two or three templates and then slightly alter them three or four times each. Without a doubt, CHON have a generally winning method, but they rely on it a bit too closely and commonly to allow all 12 arrangements to stand on their own. In fact, it’s even difficult to write about some of them because they lack sufficient individuality. Taken on its own, each composition on Chon is well worth its weight however, and as is often the case with albums like this, they begin to feel too similar and benign when combined in sequence. The penultimate “Thanks” is likely among the most technical transcriptions of the set, with highly temperamental rhythmic shifts guiding the guitarists’ myriad changes (which include a nice splash of acoustic nostalgia in-between their electric exuberances). easygoing percussion and welcomingly serene guitarwork). As for “Spike” and “Dead Ends”, they act as a one-two punch of alternating moods (frenzied picking and syncopation vs.
That stillness makes the initial bursts of follow-up “If” more impactful, and luckily, it sustains that edge until it, like “Rosewood”, concludes with natural sounds and subdued playing. From there, “Rosewood” is faintly mesmerizing and hyperactive as it ventures toward its final warm settlement of restrained instrumentation beneath a crackling fire. Afterward, “Pitch Dark” bookends its mellow middle with a touch of tape hiss and some truly haunting acoustic guitar constructions as such, it’s a great exercise in conflicting attitudes and techniques. For instance, “Petal” is simultaneously inspiring and remorseful by juxtaposing clean arpeggios and chords with piercing guitar taps, challenging percussion, and gruff riffs. Oddly enough, those imaginative syntheses conjure environments both earthly and otherworldly, which is consistently enticing.Įlsewhere, CHON infuse the LP with more vigor and variety. It’s an arresting combination, for sure, and fortunately, subsequent tracks like “Cloudy”, “Gift”, and closer “Peace” uphold that aesthetic alongside a bit more electronic manipulation and spirited movement from Esiah Camarena. Following an introductory portion of steady beats and entwined six-string embroideries, feisty syncopation gives way to panicked yet playful guitar lines over soft strums and bass lines. (Just don’t be surprised if it starts to feel repetitious before long.)Īppropriately, opener “Ghost” establishes the vibe of Chon well and ranks as one of its top pieces. Arguably even calmer and more soothing than its predecessors, Chon is another richly intricate yet inviting collection that fits the summer season. For better or worse, their new self-titled outing is no exception. Comprised of drummer Nathan Camarena, bassist Esiah Camarena, and guitarists Mario Camarena and Erick Hansel, their breezy blend of interlocking guitar patterns and dynamically innovative rhythms is always captivating (if also monotonous and formulaic overall).
Having toured with monumental acts like Circa Survive and Coheed and Cambria in the midst of supporting their first two well-received LPs, Californian quartet CHON currently stand as one of the biggest names in instrumental progressive/math rock.
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