Tokyo-based band Cilvie were formed at the height of the global pandemic and that whole experience forced the band to find new, more inventive, ways of recording. However, most importantly it instilled within the group a do-it-yourself ethos and an independent spirit, and that comes shining through on their latest release, EVERYTHING. Following the impact of their debut single Stray Sheep, this 3-track single finds the band raising the bar and stepping up a level.
REQUIEM is a dark and disturbing introduction, and one that sets a discombobulating scene; it is ghostly and waiflike and seems to echo from a distant time. Like a gramophone record on constant repeat, it juxtaposes discordant chords in a seemingly haphazard manner to create a conflicting listen whilst a lost, young soul cries helplessly. The record crackles as if pouring rain, and the whole vibe is unsettling, as if the work of someone who is not quite at peace. Yet, it’s also strangely enticing; a skeletal finger curling and beckoning you into a tent at an evil carnival, you feel as if you should resist its dark power, but are helpless to resist.
However, if you do step over the threshold you’ll be glad you did because what awaits is the explosive title-track EVERYTHING. Not only does the introduction set a dark scene, but it acts as a foil (a black mirror, if you will) to highlight the effervescence which EVERYTHING radiates. Powered forward by a muscular, pugnacious riff, this is a strong opener which pits a hard, masculine sound against female vocals and is one of several opposites which makes EVERYTHING fracture sound in every direction. There’s a quieter section towards the end of the song with Qua’s voice floating in the air; it’s an ethereal suite that stands in marked contrast to the heavy metal that bookends the song.
EVERYTHING is given an interesting production; it is not too polished, but it’s not too raw either. It exists somewhere in the middle and has a live feel, as if the band have been captured on stage. M4C’s drums are deep and cavernous, while KOJI’s guitar is razor sharp and he delivers buzzsaw riffs that slice viciously. It adds up to an arresting experience, and one that demands your full attention.
Evidencing a more melodic side to the band, JEALOUSY operates with an almost pop sensibility. It’s here where NOAH’s bass playing comes into its own and her rumble that introduces JEALOUSY is bold and brash and reminiscent of Peter Hook (Joy Division/New Order). Like a different side of the same coin, this is the same band who blew the cobwebs away with EVERYTHING, yet they are not so frenetic. The vocals are given room to soar, and they do fly like a caged bird that has escaped its cage, while the rhythm section marches with a more measured beat. There’s still room for KOJI’s guitar, only now he adds pastel shades whereas before he added bold splashes colour. It ensures that Cilvie depart on a haunting note, and one that won’t be forgotten.
My only real complaint with EVERYTHING is that at just ten minutes it’s a tad too short. The band give us a taste of their delights, then disappear as quickly as they arrived, and they give the impression that there’s much more to be revealed. Yet, as an introduction to the band EVERYTHING is the perfect calling card for Cilvie’s dark delights.
Tracklisting:
1. REQUIEM
2. EVERYTHING
3. JEALOUSY
