Novemeber is Colieda’s debut release, with some standout tracks and added uniqueness brought to it by the viola’s tone, but suffers terribly from the three tracks which feature (less than amazing) vocals, as well as from it’s general lack of originality. This Michigan quartet is another group of youngsters playing 'dynamic' guitar-driven post-rock, the now standard crescendos, but with a viola carrying the melody far better than vocals can. At points the vocals could be appropriate, but more often than not I find them to be grating, unnecessary, and overbearing. The viola alone is more than satisfactory, and often I wish the vocals would just leave it alone. I’m reminded somewhat of bands such as EITS, especially unavoidable for bands that do this type of music. (I bet one of the guitar players has a Fender dual reverb….) They also make use of bowed guitar, which at this point may be becoming as much a cliché as strings, but it is fitting, and adds an interesting drone over which the viola melody carries.

The record begins with the now obligatory roving, wandering introduction, which accomplishes nothing aside droning for a little over a minute, and quickly segues into the title track, which features the aforementioned terrible vocals. Immediately confronting the listener with the vocals may turn out to be a poor choice for Colieda, as the best tracks, and indeed much of the album, are instrumental. Next comes the Egyptian Song, which is just that… a song making use of a main melody which is clearly using a scale/mode popular in Egyptian music. Being played on a viola, which is fretless, allows for a more authentic feel, thus allowing the song to actually not sound too awkward. (Historical Note: Middle Eastern and Indian musics do not subscribe to the 12-tone system, as in Western music, but instead recognize half and quarter tones. Because the violin and other fretless string instruments are capable of playing these subtones, they became quite popular in Indian and Arab music.) That said, this song has the potential to be cheesy, walking a fine line, but is actually almost fun, as long as the listener doesn’t take it too seriously, and you ignore the alternating screams oscillating opposite of the Egyptian melody.

I hate to overstate this, but the vocals can really be a problem. They are at the center of Images in the Sand and Marley and Isabelle, and they hold the band back. Standout racks like Hiroshima, however, clearly demonstrate the bands potential, but that isn’t enough to persuade me. Nothing extraordinary, but still a good listen. The second half of the album (being the half without vocals, aside from some whispering in the closer) is the stronger of the two, and is quite enjoyable. Colieda’s instrumentals show promise, but lack originality. "Sixfour" actually lifts a guitar part from Godspeed’s Moya, which is tantamount to blasphemy. The vocals detract from the atmosphere, but fortunately the band seems to recognize this and sandwiched the three songs with vocals between instrumentals, with the exception of some cooing during the intro of the closer. I get the impression that one of the band members just couldn’t take a hint that no one wants him to sing. Could be off base, but…

These tunes are mostly lacking in originality, played with the standard configuration string/bass/guitar/drum, however the viola tone gives them a slightly different feel. The band does have the makings for some interesting music, but it needs to seriously rethink it's vision and pull together a more original sound, focusing on the more original aspects of its lineup (like the use of non-western music). Until then they'll just be playing second fiddle to many bands who do it better.