Design: Florian Grass/Kabine 7
September, 13 2024
In The Cut
Giant Crow
GIANT CROW spent almost ten years of their musical history as RAINDANCE KID before taking to the skies under their new name to discover something new. Rain dances don’t seem very appropriate in Hamburg, but crows can be found more and more in populated areas. They circle above highway intersections and garbage incinerators are guests at morning carnivals and closing marketplaces.
GIANT CROW has landed on the roof of cosirecords in dystopian Oberhausen, where their new record will be released both on colored vinyl and digitally on September 13, 2024. A label that has already proven with Allysen Callery, Kristina Jung and Ryan Lee Crosby that good taste can also thrive in inhospitable places.
In the form of a gigantic crow, they now appear not far from where Raindance Kid left off. The music is more resolute, more aware of the great role models, without losing the joy of experimentation of the early days.
With the album In the Cut, GIANT CROW have achieved a genre-balancing act that is more than just a successful and convincing experiment. Knee-deep in country noir, GIANT CROW hatches a feverish sound between pulp, pomp and poetry that is both technically virtuosic and ironic enough to allow the listener to relax in the beautiful baroque post-rock chaise longue.
The opener Hands is preparing to storm the Olympus of evergreens. You immediately fall for the creaking bassline, while banjo and violin appear in a classic rock line-up. Synthesizers dominate at the beginning of City Lights. Post-rock tremolo guitars meet sweeping instrumental parts and create a soundscape that smells of petrol and pipes and spreads a thousand psychedelic colors in your ear canals. The crow circles over godforsaken shores in Somber Days, self-ironically touches on the western genre in An Outlaw’s Tale and even finds inspiration in new music in Apocalypse. All promises are fulfilled brilliantly at the end: the title track and conclusion of the album is an almost seven-minute desert epic in two parts that lingers long and slowly fades.
In the Cut is a neo-western, theatrical, full of self-confident pathos, poetic and personal. And that’s just the beginning.