ARTIST: Artificial Waves
RELEASE: Heavy. Deep. Sad. Ironic.
RELEASE DATE: 18th May 2017
RECORD COMPANY: Fluttery Records
If you like everything icy, chilled, nice, polished and reflective in its purity, look no further than the post-rock/ambient textures of Artificial Waves. Their latest album, tongue-in-cheekily entitled 'Heavy. Deep. Sad. Ironic.', captures the mood and atmosphere of a period in the late nineties when post-rock seemed less interested in pushing the outer boundaries of contemporary music but more focused on dwelling upon a kind of conceptual structure acute to post-shoegaze; longer songs with downtrodden elements but larger and louder sections to bounce back to. But while 'Heavy. Deep. Sad. Ironic.' is definitely clean and polished, these facts only help in its intentions and presentations. For every guitar-based riff-centred track there appears the subtle sounds of violins and keyboards, synths and ambient soundscapes. It’s true; it is difficult to find a song on this album that doesn’t have layered sound behind it; whether this be another instrument or just the tone and FX on the guitar. An interesting and engaging listen for fans of post-rock, and those seeking something a little more sonically interesting than your generic instrumental rock release. The album was officially released back on the 18th May 2017 via Fluttery Records and is available to buy/download right now on various formats from artificial-waves.bandcamp.com
Heavy. Deep. Sad. Ironic. by Artificial Waves
‘From Blur to Sharp’ opens the album as a kind of intro; big, loud drums play over the top of ambience and a small keyboard sound; eventually the entire band appear and the song unfolds in a heavy, riff-orientated way. Was it a clever idea to include this song? Well, I’ll let you be the judge, but there seems to be something of a lesser-than quality on this opening track in comparison to other tracks. I found myself wondering whether the rest of the album was going to be the same atmospheric guitar-orientated ‘rock’ sound. And although it’s a simple intro song, it does little to capture the true essence of the album when one has listened to the other tracks. The almost seven minute ‘Blended Spirits’ follows with what borders on an alt-metal sound; chugging guitars, breakdowns and loud guitar backed music. As the song goes on it becomes more and more engaging, with the high point been around the middle section where a downtrodden guitar plays a shoegaze-like riff, accompanied by a beautiful melody and the thick bass/drum sound. One of the best tracks on the album ‘Living in A Recycled Space’ plays with dynamics and a more math inspired sound. The inclusion of samples and electronics alongside the heavy drums/bass/guitar passages on the song do wonders for the atmospheric/conceptual quality of the song. A programmed drum beat and piano carries the song beautifully also.
‘Rising Soul’, which served as a single for the album, provides a beautiful swathes of melodic post-rock; the entire band come together to produce a less dynamically alternative song but a much more linear sounding piece of ambience. Similarly, ‘Hush and Embrace’ is as equally as impressive, but much quieter. The song relies more on the quiet ambient passages and guitar laced soundscapes than any large pounding drums could muster. ‘Bored Shadows’ seems to be a mixture of the previous two tracks with its gentle start but seemingly heavy second half. The inclusion of what sounds to be either sampled or programmed drums also make things seem even more wavy and architecturally post-rock. The subtle influence of shoegaze also continually sneaks in on all three tracks to a point of interest and engagement. The airy and most atmospheric song on the second half of the album is the brilliant ‘Inspiring Insomnia’ which at the two minute mark features a chugging breakdown with subtle yet stylistically intricate keyboard sounds. A special acknowledgement goes to the drumming on this track; involved enough to be noticed but not arrogantly over the top as to alter the limelight from the other instruments. In the second half of the song, things return to the alt-metal style explored on the start of the track. A small interlude, entitled ‘Inception’, leads the way into ‘Feeling the Endless Flow’ which is the albums lengthiest song. In terms of other tracks on the album, it lacks their magic, charm and continuity; it’s perhaps the most linear in terms of genre and its one of the loudest songs on the release. That’s not too say it doesn’t have it’s strengths; the guitar playing is strong and impressive, as is the unified sound between the players and their instruments.
As far as instrumental albums (of any genre) go, there is one real question that impinges on the critical reaction and reception, as well as interest shown by audience, of the release. This question is whether, without vocals or lyrics, the band or artist can keep it interesting enough to hold attention for the whole release. Of course, there are exceptions to this rule: think of those classic albums released throughout the 60’s and 70’s that are three tracks long (all of which go for 25 minutes) featuring lengthy guitar wanking and keyboard solos on and on. Or perhaps music generally classified as sound art, which generally may go on for hours without anything resembling a major chord progression. I am a fan of both these exceptions, but with these exceptions application to the question at hand, both classic albums and sound art/experimental pieces have one thing on their side: contextualisation. 'Heavy. Deep. Sad. Ironic.' has the task of maintaining interest on its own; without information or contextualisation to back it up in its decisions. This boils down to the question; does the album keep interest up for its entire duration; the short answer is not particularly, but the full answer is different altogether. The album, for the most part, remains interesting purely through its song writing; the softer and more ambient tracks stand out in this sense. As for the production and mixing; it is stellar… crisp, clean and sparkling in its recording and presentation. In regards to the aforementioned question; there are guitar-centric passages of songs that become over long and tiresome at times. The first half of the album more so than the second half features too many over long passages of ‘basic’ alt-rock. Although these sections of music are minor, and overall there is something wholly satisfying about the album; a kind of conceptual element that ties it all together, mainly through production, song writing and sound.
ABOUT THE AUTHOR:
Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian based heavy music blog, I Probably Hate Your Band.
by Primal Music
RELEASE: Taeppe EP
RELEASE DATE: 27th June 2017
RECORD COMPANY: Structure vs Chaos Music (SESAC)
Fantastic Connecticut based lo-fi shoegaze quartet 'Landing' have announced a brand new three track cassette in the guise of the 'Taeppe' EP , released to coincide with their 2017 tour which has just kicked off and will run all the way to July 12th taking in Northampton, Hamilton, Detroit, Indianapolis, St. Louis, Minneapolis, Des Moines, Austin, New Orleans, Atlanta, Raleigh, Salt Lake City & Washington D.C. The band create blissful sonic soundscapes that are filled with hazy shoegaze highs and jaw dropping ethereal vocalisations coupled with experimental twists and lashings of glorious reverberation. The band on this release are made up of Adrienne Snow - vocals, Daron Gardner - bass/drones, Aaron Snow - guitar/synth/drums/bass/vocals, Kryssi Battalene - guitar on Side A & John Miller - drums on 'Together'. You can buy/download this latest release digitally right now from landing.bandcamp.com or if you are one of the lucky folk who get to see them play live, the cassette version is released by Vast Arc Hues in an edition of 50 and will be available at shows on their summer 2017 tour.
Taeppe EP by Landing
Reverberating drones coupled with fizzing effected fret noise collectively move and undulate in a dense sonic fog as faint hints of melody punctuates through subtle feedback and the odd pull of guitar notes. 'Page After Page' unfurls it's enveloping frequencies, gradually building momentum as it peels back each individual musical layer before pulsing a beautifully intense wall of glistening vibration out into the ether in one great big wave, enveloping Adrienne's haunting vocals in the process. It's subtle percussion keeps an almost ethereal tempo as the wash of luscious guitars surge and break through layer after layer of stunning production. Instrumentally, 'Page After Page' pulls you inwards and keeps you transfixed on all eight minutes of this fantastic opening salvo. Up next, 'Tape' explodes into a cacophony of golden hued frequencies as tremulous guitars, augmenting synth swells and the repetitive whoosh of hi-hat's swirl and meld effortlessly with beautifully entrancing vocalisations, the gentle hum of bass frequencies and sublime production. 'Tape' is my favourite track on the entire release. It's a blissed out sonic adventure that will have you forgetting daily life as you float skywards into the abyss.
The EP closes out with 'Together', a snapshot of dreamy sonic escapism. A hazy wall of steady drums, cascading bass lines and fuzzy reverberation glisten and shine as jangling progressions mix with melodious lead lines to collectively circumnavigate another shimmering vocal take. 'Landing' tease us with their old school shoegazing tendencies half way through as the track explodes into a driving mass of blissful noise drenched in simmering instrumental melody that loops and arcs brilliantly throughout the the entire piece. This flight of fancy is quickly tamed however as the band pull the plug and dump us headlong into a finale of fading incandescent sound waves.
ABOUT THE AUTHOR:
Del Chaney has spent the last five years dedicating his time to uncovering the best artists in the unsigned or small independent label based shoegaze, ethereal dream pop, post punk & modern psych rock from all over the globe & reviewing them for this blog - The Primal Music Blog. He is also a contributing writer for The Sound Of Confusion (Now On Hiatus). His other arm - Primal Radio - has gained considerable respect from bands and promoters alike since its conception in 2013 & has helped him in actively promoting a genre of music that he is passionate about. Hailing from Dublin, Ireland, he is a keen Vinyl Collector, Tattoo Fan & all round good guy! He is a self confessed music freak & is never far away from a studio console or a turntable.