Goodbye Enemy Airship
The Landlord Is Dead
CST010      CD LP MP3 FLAC


Reviews
"A moving sense of dramatic isolation is felt as the song-cycle of Goodbye Enemy Airship the Landlord is Dead unfolds. Each chord is a step forward, each outburst a cathartic cry to the domineering starry sky. Do Make Say Think have imbued their second album with such a strong sense of purpose and an indefatigable belief in their characteristic sound that comparisons become largely irrelevant. That they succeed so well on their own terms without weighing their music down with tired post-rock clichés makes their work that much more compelling."
Pitchfork (7.9)

“Stunning… [S]ome of the most exciting, truly innovative music of the moment…. Managing to be both unsettling and deeply beautiful, genuinely experimental yet infinitely palatable…”
Select Magazine

“[T]here's so much tension-and-release and spatial effects in the music that it almost becomes a visual experience.”
The New York Times

"They're a group who excel in documenting moments in time, and who provide those moments with a beautifully honest soundtrack brimming with hope. Album ender, the 12-minute ‘Goodbye Enemy Airship', rises and falls, mixing up rock, jazz and folktronica to give the album a truly epic finale. Standout track‘All Of This Is True' perhaps best sums up why I love GEATLID and this band so much, combining a Kid A-esque electronic setting with lone horns that send shivers down your spine. The album cuts like a dream: a giddy whirl of different genres and instruments with the occasional distant word or noise chiming in the background."
Drowned In Sound (9/10)

“Often melancholy and introspective, sometimes propulsive, and always evocative, downcast and shivering with a feverish intensity, the songs presented by Do Make Say Think move like a broad stormfront with a towering ceiling.”
Copper Press

"When I first heard the self-titled debut album by Do Make Say Think, I was started by it's originality. Even though it's a bit shorter effort than their debut, the instrumentation on the [new] album more than makes up for things. The group has harnessed the power of quiet/loud and even though the songs sometimes change tempo right in the middle of things, the dynamic of the album just sweeps you along and wraps you up. As a release on the Constellation label, it goes without saying that the packaging on the release is impeccable. Packaged in a cardstock sleeve with a die-cut front and braille-stamped back, it's like buying a little work of art."
Almost Cool (8.5)

“[S]uspiciously quaint on the surface... Punch down further, however, and out bubbles a boiling stew of molten rock, burping brass and spiky electronics, all of which effectively fuse to produce a most agreeable and varied set of noises. The familiarity of the nod-out, slacker guitar sound - when set next to the unpredictable insectoid violence of the electronics - is indeed a thrilling, shocking thing.”
The Wire

"My first impression of this album was one of amazement. I can remember hearing the first self-titled album by this Canadian band and thinking that these guys were poised to take over the indie rock world. One this, their second album...the evolution of their music shows a more mature band interested in textures and ideas, allowing the music to undulate and expand. Gone are the funky rhythms, but in their absence come amazing expanded musical themes and jazz-like tempos. Definitely an album worth picking up."
Brainwashed

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Description
The second album by DMST captured the evolving and evocative sound of the band in all its newfound subtlety and sophistication. Recorded in an old wooden barn outside their hometown of Toronto, the album is swaddled in late-night, late-summer ambiance, maintaining an atmosphere of spontaneity and accident (along with the background sounds of chirping crickets) alongside the increased attention to composition in many of the pieces. While the record is bookended by the band’s inimitable psych-rock explosions and explorations, much of the material here is more reflective and experimental, with increased referencing of jazz influences (modal horn passages, chilled-out tempos) and a progressive command of studio techniques that yielded mixes abundant with sonic details and surprises. Electronics and effects are often deployed at micro-levels, placing strange static noises and bubbling textural flourishes in the soundstage which catch the corner of the eye/ear and encourage repeat listens (headphones strongly advised).
When this record was released, Do Make Say Think were still very much a rock band, devoted to brash riffing and blissful repetition, but they were moving towards more sublime dynamics and harmonics. The tensions between Justin’s ragged reverbed guitar work and the more restrained, pensive playing of Charles and Ohad (on horns, bass and guitars) had become more acute, imbuing this batch of songs with more finely-etched contrasts and colours. Jason’s electronics, while continuing at times to soar to the saturation point, showed a greater attention to detail. The interplay between drummers James and Dave was more relaxed and stripped-down, easing away from the constant kineticism of the debut record to give the other instruments more breathing room. Goodbye Enemy Airship…is raw and polished, visceral and cerebral, combining rock and jazz traditions of space music with the ‘instrumental’ potentials of the mixing room to produce a gem of a record.
Release date: 13 March 2000 (Europe), 27 March 2000 (rest of world) Running time: 48:17
Packaging notes
Goodbye Enemy Airship the Landlord is Dead is available on LP and CD formats, both packaged in cardstock jackets with window-cut front covers, embossed braille back covers and screen-printed exterior lettering.


Tracklist
1. When Day Chokes The Night
2. Minmin
3. The Landlord Is Dead
4. The Apartment Song
5. All Of This Is True
6. Bruce E Kinesis
7. Goodbye Enemy Airship


Credits
PERSONNEL
Ohad Benchetrit: guitar, bass, saxophone, flute
Jason McKenzie: keyboards, effects
Dave Mitchell: drums
James Payment: drums
Justin Small: guitar
Charles Spearin: bass, guitar, trumpet
Recorded in Jason’s grandparent’s barn near Port Hope, Ontario by Ohad and Charles, August 1999. TRACKS 4 + 7 recorded at CIUT radio in Toronto, December 1998. Mixed and mastered by Ohad and Charles at D.A.V.E. in Toronto.