Post-rock has a problem and it’s one of incest. In a genre which is basically a splice of different sounds, the “gene pool” from which inspiration is drawn has basically been stagnant. The sounds and ideas come from the same small group of bands and the result is derivative and repetitive. Ultimately, it’s also paper-thin and lukewarm; many post-rock bands sound good but are completely forgettable in the long run; the “cinematic” approach to rock has left them ethereal and un-grounded. Luckily however, there are bands who still push the limit on where post-rock can come from. Electronic, metal, pop and other diverse sources inform them, leading them to innovate the genre, whether consciously or not,

Which brings us to Tiny Fingers. What if post-rock clashed with psychedelic rock, laden with Hammond synths, thick bass and screeching guitars? Why, only good things would happen of course. Tiny Fingers are a testament to that: the Israeli gang mix all that and more with a splash of dubstep wubs and post-rock sensibilities to create music which is both expansive, intoxicating and groovy at the same time. It somehow manages to maintain the build-up/release vibe of most post-rock and its lengthy track runtimes without sacrificing the power to bewitch and entangle.

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“Demands” from Megafauna, one of their best releases, is a great example of all of this. The track begins with what will prove to be its center for the whole thing: the drums. They are heavy hitting, punctual and powerful, breaking up the thick synths they are companions to. Those synths will only get progressively thicker and thicker until, around the three minute mark, everything will explode into chaos within them, enfolded and nourished in their bosom. After it, the guitars will step down from their high pitched throne to join the bass and the drums in a thrilling, robust outro that coalesces the sounds of the track into furious blows. Don’t miss the bridges either, whether bass or guitar driven, lending the whole thing a sense of timing that is inescapable.

Nor is this a one-off. “Money-time” for example is much like that outro but for the entire track, stoner like riffs taking control over the backing force of the groove section. Perhaps the brighter “El dorados” is more your speed, with its slightly more stoner influenced synths and guitar chords. It also flirts with math rock a bit, with its funky guitar bridges. Regardless, Tiny Fingers holds something for anyone looking for a bit more fuzz and power with their post-rock; the band has several great releases under their name, slowly evolving to the smoother spaces of their recent release, The Fall. 

Check out “The Dispatcher” for example, a dreamy sojourn in an ocean realm where more “signature” post-rock tremolo pickings dominate between the drums. Th entire track is much more mellow but still retains a punch and kick that is founded in accuracy and smart progressions rather than in feedback or heavy cymbals.  Tiny Fingers wield all of these instruments with the same expertise. All in all, they are one of the most interesting and unique post-rock bands in action today, aiming to fire up all engines and sail into realms from which post-rock has been absent so far. This dedication to a different sound allows them to do what most post-rock bands fail to do, namely to leave a mark on the listener. Sit down, hook in, take a ride and have hope for post-rock once again.

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