Fourteen years away is a long time in the modern music continuum. A lot has changed since 2012, but in many ways, it’s not unreasonable to say that the more things change, the more they stay the same. After being on hiatus for so long, Parts & Labor have returned with an album that does not knock politely on the door, it does not meekly ask for readmittance. Instead, Set of All Sets showcases the band at their technicolour best, seemingly at the peak of their powers and busting back on to the stage as though they’d never been away.
What is particularly striking about Set of All Sets is that it feels like it exists in its own timeline; it vibrates in its own version of reality which makes it hard to pin down to any particular place, scene or time. They’re not shy about drawing influence from the Melvins/ Big Business double-drummer set up and the rhythm section does indeed provide a beefy, head-spinning foundation upon which they have layered a shining, shimmering, iridescent tower of maximalist, melodic, danceable noise-pop.
Shimmying between the existential and the corporeal, reckoning with themes of power, violence, collectivism and more, Parts & Labor have a way of utilising their own distinctive sonic lexicon to make the decline of civilisation seem like a place where – at the very least – we can still dance. And dance we shall… we’re thrilled that the band will be returning to Europe and making their Roadburn debut next April.
They tell us: “We could not be more excited about joining this epic Roadburn lineup as part of our first European shows in 15+ years. We’ll be celebrating the occasion with the same six-person, double-drummer configuration we used to ring in the release of our new double-album this past summer. Can’t wait to join the heavy festivities.“
