Being an instrumental band from Austin, Texas whose name doesn't start with Explosions in the Sky must be rough. I can imagine that just about every conversation Cue has with potential listeners goes something like this:

Cue: Hi, we're an instrumental band from Austin, check us out!
Dummy: Instrumental? Austin? Hey, do you guys know Explosions in the Sky?
Cue: Yeah...
Dummy: Yeah, they're awesome! Do you guys sound like them?
Cue: No...
Dummy: Oh...well, see you guys later!

Which is disheartening, as I doubt that EitS were brushed aside in favor of Stars of the Lid upon formation, but I may be wrong. Furthermore, Wedding Song is Cue's THIRD album, after 2005's much acclaimed Bring Back My Love and 2001's now forgotten Keep Busy, which was released as a trio. Let's give credit where credit is due -- Cue's the most exciting act out of Austin right now.

What is it that makes Cue so interesting? Perhaps it's the predominantly violin led tracks, where other bands are just content to have a string instrument for support (likely, we suspect, because they're aren't great violinists, not the case for Cue's Stacey's Meshbane). Maybe it's the use of guitar and bass as supporting players, often stuck behind violin and piano. This calls upon not the work of their local peers, guitar slinging astronauts, but instead the more subtle work of bands like Tristeza and Unwed Sailor. Strong drumming? Check. More energy than a chamber rock band should be allowed to possess? Got that too. Sometimes just makes you want to get up and dance? We'll throw down an exclamation mark on that one. Anyone still reading should do themselves a favor and order a copy of Wedding Song now and save themselves a good ten minutes. You'll thank me later.

Any other website on the face of the Internet will likely either tell you that instrumental music is dead, or apologize for the current state of the scene over one or two paragraphs before telling you why they, as humble music critics, think you should listen to one more instrumental band before you throw in the towel. You don't see that as much here at The Silent Ballet, likely because much of the staff eats, sleeps, and dreams instrumental music, and after several, several months pass, you're not really listening to it the same way you originally did. What use to be, "hey, they sound like Godspeed because they both have long songs, strings, and get loud" turns into "hey, these guys are totally different from Gospeed because they're pulling influence straight from classical music, have dropped the progressive front, and the minimalist tendencies are restricted to the shorter tracks." Wow, that's quite a change to make, but all grasshoppers have to grow up someday. Conversely, what's really the different between Radiohead and U2? Both are from the UK, so *obviously* have the same influences, have things called "singers," work mainly with guitars and drums, and think they saved rock. I jest, of course, but perhaps this inane analogy sheds light on why instrumental bands always cringe at comparisons. You would too.

It's rather difficult to place Cue in the musical spectrum, as they do share common traits with bands like Rachel's and Esmerine, but I'd never suggest they actually sound similar. The latter two are for the patient, particularly Esmerine, who can get quite abstract when they want. Rachel's long career has seen them move in a variety of directions, but for the most part they've settled into their own niche as well. Cue, in all honesty, should really appeal to everyone. Show me a person who doesn't like a short, upbeat tune with orchestral finish, and I'll check his pulse. I just don't believe that Cue won't get you out of your chair and at the very least force a little head bobbing/foot stomping action.

Clocking in at a simple eight tracks, forty minutes, Wedding Songs is a concise ball of energy. Opener "(Every Wing Hits at Once)" gets us pumped with a "ONE, TWO, THREE, FOUR!" followed by a marching band plowing through NYC's Thanksgiving Day Parade. Sure, it's only four people, but damn if they can't convince us it's many, many more. "Wedding Song for Living Things and Dead Things" keeps up the act, pouncing on the audience with frantic conglomeration of guitar, violin, and drum. Meshbane's playing is so bold and dominating that at times you wonder how Clarke Dominick, Colin Swietek, and Jason Brister can possible keep up. The quartet eventually unravels and takes a breather. Of course the track is destined to end even more dramatically (because we've woken up the living people, now we've got to do the same for the dead ones), but before we get there we're treated to a guitar led segment with a short string and glockenspiel outro, only I've already ruined the surprise, it's not really an outro at all. The initial momentum returns in a heartbeat, with such jaw dropping prowess that it'd even make Mono jealous. It's quite rediculous to think things can go uphill from here, but we're actually just at the foot of the mountain.

"Can You See My Skeletons?" is one of the longer tracks on the CD at over seven and a half minutes (only "YROKROLSUKKDN2002" is longer at just under nine). Cue does well to switch up the mood, relieve the leftover anxiety from "Wedding Song," and switch gears slightly. The track begins playfully, with Clarke bending out a surf rock-esque groove and Meshbane getting somewhat folky on violin. Brister shows off inventive drumming in this piece, calling upon slightly off-kilter jazz stylings to keep everything smooth. It's around the three minute mark when things coalesce. Thundering drums lead into another heated exchange between the quartet, cumulating in true Cue fashion. This could easily be the end of the track, but Cue reaches the climax and begins its downward descent. Guitars are exchanged for bass and piano, and Meshbane returns to plucking. Three minutes later we touch the ground again. "Capture the Flag" continues with a sophisticated air, carrying itself like a Six Parts Seven track with violin accompaniment. This resets the palette for another wonderful track, "YROKROLSUKKDN2002."

This track is highlighted by something I often praised Samuel Jackson 5 for back in 2005, maintaining a melody through different instruments. It seems pretty easy, but for some reason many bands just don't bother with this approach. What it allows the band to do is keep the listener interested in the piece (because we're hardwired to love melodies) while not sounding repetitive. Samuel Jackson 5's "Michael Collins Autograph" captured this essence, and "YROKROLSUKKDN2002" follows its lead by starting with the piano and later switching to guitar and violin. Here it's modified and twisted as the song progresses, but a unmistakable familiarity resides. An interlude briefly breaks the melody, then rushes into another heavy exchange, but if you dig down deep enough you'll see it's still there, shining in the brilliant sunlight. A brass outro leads into "The Last Good Year of My Life," which is another middle of the road tracks which balances the overall work and furthers displays the band's promising arrangements. Of note, it's the only piece that features vocals with a soothing "Ahhhhhhhh" throw in between the bouncy bass lines.

The last two tracks are perhaps Cue's greatest work. "Forest of Pencil Pierced Children" is unlike anything else encountered. This is very stoic, contemplative, and reserved. The quartet plays slowly and quietly, almost as if they children who have assembled for a late night band practice and are afraid to be discovered. Instruments emerge unannounced, sliding in and out of earshot at a second's notice. Admittedly, this is where Cue most loses sight of their unique identity, but its place in the album is well justified and does hint that the band's future may hold more experimental works. And then we're left with "Fleur de Lis," a six minute ballad and Cue's last shot to wow your pants off, if they already haven't. There's not much contained here that Cue hasn't already impressed us with, as they've already impressed us so much, but it's validates itself by being the strongest track on effort. It's not as unrelenting as "Wedding Song," not as exhaustive as "YROkROLSUKKDN2002," more playful than "Can You See My Skeleton?" and still retains all the great qualities exhibited in the previous thirty-five minutes. A great finish to a remarkably engaging and fun album.

If you only need one album to get you through the summer, this could be it. Nothing else picks up  the spirit quite like Cue.

-Jordan Volz