ARTIST: The History Of Colour TV
RELEASE: Something Like Eternity
RELEASE DATE: TBA
RECORD COMPANY: Cranes Records / Weird Books
On 'Something Like Eternity', the very crux of genres like post-punk, experimental music, dream-pop and shoegaze are brought to the forefront and laid bare in their characteristics by The History of Colour TV, a Berlin based experimental/alt-rock band. As they do this, they throw into the mix their own brand of indie and punk rock stylings (which have been explored on their previous two albums) to create something that all together sounds like an attempt to push alternative music in a different direction… To try and squeeze something more from sound, song writing and performance.
'Something Like Eternity' opens with the impressive ‘Granite Verge of Tears’ which sees the band utilising a more post-punk sound with some sort of garage stylings. Occasionally the songs ease back into simple guitar playing before jumping back into indie-stylised riffs. ‘Broken Trip’ acts as an extension of this; there is more of a jangle rock sound and the whole mood of the song seems lighter. Much as the opening track, the song dips deep back into a unrestrained dark section of music at places in the song, which gives it several different faces and ways of interpretation. The second half of the song features the crunch of background fuzz and noise; another wind back to the wild west of garage and noise rock. ‘Wreck’ seems slight in light of the previous tracks. Its guitar and drum play is enjoyable but it comes across as overly simple and never really reaches any substantial heights or points of engagement until a loud and wild section near the outro of the song. The lyrics become pointless because of the dry and relatively unimaginative style of the vocals, which sort of wander into the backing instrumentation and become too distant. Thankfully the band somewhat redeem themselves with the colourful and loud ‘Everything That Stood Still’, a track that plays around simple guitar plucking coupled with a drum pattern that leads into the loud and brilliant chorus riff. Credit should also be given to the fantastic outro on this song; a truly spacey and fantastic piece of music. While only meant to be some sort of interlude, ‘Overcast Half’ is a brilliant tiny piece of experimental feedback, mild distortion and FX filtered sounds. And it should be noted it fits very well in the scope of the entire album.
‘Even Rain’ has mesmerisingly beautiful slow passages of guitar picking which are then fluctuated by the banal passages of ‘emotive’ singing and louder instrumented sections. The band play upon more of an alt-rock style of music and this is complimented greatly by a small synth lead in the second half of the song; lending to a more post-punk style of sound. The lyrics again seem almost forced sometimes and I feel like I was concentrating on the music for the most part because of this.
The albums highlight is the alt-rock/noise infused ‘Wait’ which showcases the bands strongest points; the crunch of garage styling with noises and screeching in the background that make for fantastic song writing. The performances are at almost the highest point on the album for this song and the outro of feedback and noise is a complimented element that really wraps the song together for the listener. Another brilliant song follows; the echoed and quiet ballad like structured, ‘Flame’. This, like passages of other tracks is built upon the slow turn of a guitar riff and excellent playing by the band. On this track the vocals are highlighted and make for a quality part of the song, rather than being altogether bland. This song is followed by another riveting song entitled ‘Pattern’, which presents a fuller and more frontal side of the band with keyboards and a much lighter tone than the rest of the album. The songs greatest element is the chugging guitar riff that blends into the outro and into; you guessed it, more noise and feedback on the songs second side.
Across this entire effort, with a retrospective gaze into History Of Colour TV’s back catalogue, I feel this album to be some sort of drafted attempt at creating experimental or ‘different’ music. Sometimes it sounds like the band believe if they throw some feedback in then it will be considered experimental or somewhat avant-garde. Let’s hypothetically pretend there was no noise on the album… What do you have? A non-offensive alternative rock/indie/post-punk album with dark themes and some pretty impressive performances. For these songs act as post-punk, alt-rock tunes cooked down into simple draft structures with guitar, bass, drums, vocals and keyboard; no audio tricks, no mixing enhancements to make the songs sound deeper and darker and even perhaps more conceptually pleasing. As a result, the album drags and drags; yes there’s a song here and a song there that somewhat redeem the bands ‘signature’ sound but beside that the listener, at times, feels like yelling ‘we get it already!’ Also, past releases from the History of Colour TV compared with this material puts these songs into a whole other awkward light.
But that’s not to say the album doesn’t have highlights or well written and performed songs. The second half of the album saves its weaker points in many ways; showcasing a more alternative style of music than the opposing. The performances are impressive on the most part, especially the guitars and the drumming. The mixing shines in the more full production, but praise should be given to it for sections with just guitar and vocals where it shines. Altogether the band create an interesting album, through these avenues of production, mixing and sound.
'Something Like Eternity' gets it's full release in early 2017 via Cranes Records / Weird Books. The bands latest single 'Wreck' is out now and available to buy/download from: thehistoryofcolourtv.bandcamp.com
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 the Australian heavy music blog, I Probably Hate Your Band.
by Primal Music
ARTIST: Daniel Land
RELEASE: In Love With A Ghost
RELEASE DATE: November 25th 2016
RECORD COMPANY: Unsigned
The well-travelled transition of lo-fi, simple and sloppy production and mixing into well-produced, fluent and full production is often one that tends to place song writing, musicality and instrumentation at the background of importance. Bands and artists bath senselessly in the pool of sounding and appearing magnificent and sort of forget to be magnificent. A man who has somehow jumped this very preverbal shark is Daniel Land. His albums were never lo-fi per say, but his latest album In Love With A Ghost is so well produced and neat sounding that he seems to have made that aforementioned transition, and he has done so with style and talent on full display. A gracious and stylized effort, In Love With A Ghost throws a crisp nu-pop sound, alternative rock undertones, shoegaze melodies and the fantastically solemn tinkering’s of downtown jazz into one collective effort; ultimately it’s an album that demands to be respected in its substance, content and dazzlingly appearance.
In Love With A Ghost by Daniel Land
In Love With A Ghost opens with the piano laden alternative pop tune ‘You & Me Against The Sky’ that showcases the spacy and impressive production that features on the entire album. The songs post-punk inspired double snare tap contrasts Lands soft voice which gives the song a beautifully dream pop aesthetic. This notion is reinforced with the synths that play throughout the chorus of the song and the piano that acts as the foundation of the song and instrumentation. The tracks greatest element is the saxophone that creeps in and plays in an appealingly whimsical style that eventually seeps into the outro; a beautiful and melodic piece of music. ‘Holes On the Dancefloor’ follows with a more electronic and soundscape tone similar to Lands previous recording efforts, but continues the pop sensibility expressed on the opening track by still incorporating the distant sound of piano. Land exercises his skill of writing catchy but alternative chorus lines and lyrics with the chorus on this very song; featuring a small but notable vocal performance that climbs in a reflective way to the instruments. ‘Everyone's Got A Guy Garvey Story’ continues the piano balladry style of the previous two tracks but in a more up tempo styling. The highlight of such a song is the clever lyrical content; featuring referential and introspective lines that dance along with the swinging, up tempo beat of the drums. While the following track, ‘The Sweetest Lover’ doesn’t quite connect the same way previous tracks do, one must admire what is actually going on in the song and the instrumentation. The swing style drum beats, the layers of guitar and perhaps most interestingly, again; Land’s skilful vocal delivery.
One of the highlights of the album is the fantastic, jazz inspired ‘New York Boogie-Woogie’ which melds Land’s instrumentation with a dreamy shoegaze styled soundscape in the background. The song plays along at its own pace; drawing a picture in your mind with Land’s lyrics and then the utterly skilled saxophone (in a tone reminiscent of the opening track) that joins the instruments in the outro. ‘Saints With His Mercy’ is the closest Land comes to complete and utter dream pop on the entire album; but this is a good thing. It offers a crossover of the musician’s pop aesthetic and the dream tones of keyboards and guitars that results in a dancehall style pop song… Yes, by dancehall I mean like borderline reggae; thus, the song sounds at times experimental in its wild mix of danceable drum patterns but husky and echoed elements of dream and shoegaze. The ultimate ballad, ‘Whistling Gypsy’ again displays Land’s mesmerizing vocal delivery, but this time offers a more minimalist backing; with distant, sliding guitars. Another top moment on the album is the outro to this song; beautiful, entrancing and somehow calming in its musicality.
The title track lends itself to a lengthy, shoegaze intro that melds into a swell drum machine pattern that crosses into the opening of ‘The Beautiful Room is Empty’; which rounds up all of the albums sound and song writing traits into one enthralling piece of music. Again, Land creates an outro that really one could not speak highly enough of if they tried.
In a way, this album is some kind of warped pop album, even an experimental pop album perhaps. And this very fact makes it an interesting listen… But let’s assume that it wasn’t so alternative; it would still be an engaging and greatly enjoyable listen. And this is where Land demands some kind of greater perspective or respect with this album; it is so *expletive word* difficult to make a pop album, whether that be pop rock, alt-pop, soft pop blah blah, that is different, fascinating and at least somewhat original that so many artists just end up drowning in clichés and step by step musical characteristics. Land’s album is obviously far from the delirious pop of the mainstream but it is a mostly pop orientated album whose songs centre on all things piano, drums and the art of the voice.
The production is top notch; clean, precise and echoed to compliment Lands vocals and the music’s distinct sound and style. Mixing is of a similar quality; every piece of string plucking, vocal chanting or murmuring and drum tapping can be heard in a polished and clean way; even when it is in the background of the song. Perhaps the greatest element of the album, beside the song writing itself, is the performances exhibited wherein. While all the instruments are truly brilliant, I feel Land himself delivers one of the best performances on the album vocally. This is a dreamy, original and somewhat experimental piece of pop music, built on the genius of performance, production, song writing and sound.
'In Love With A Ghost' gets it's full release on November 25th 2016 and is available to pre-order right now from: danielland.bandcamp.com
RELEASE DATE: November 18th 2016
RECORD COMPANY: Cleopatra Records
Programmed drums, dream pop guitars and the deep contextual influence of 80’s post-punk and ethereal wave combine with absolutely brilliant song writing on the debut album of Californian shoegaze/darkwave/post-punk band Echolust. 'Veldisa' is a sprawling, dark yet beautiful musical journey through moods and places, sounds and lyrics and contrastingly vivid soundscapes. Upon almost every track the band exercise some sort of gaze back into the past; but this act surpasses nostalgia and more offers commentary on thought and pondering. It’s beautiful and dream pop inspired guitar riffs support the slow and swinging music to fantastic degrees; expressing emotion through music with some wild sort of ease.
Veldisa by Echolust
‘1799’ opens the album with a dreamy guitar riff and a drum machine inspired by the double tap of the French coldwave and the early 80’s programmed beats of post-punk bands. Mixed within the song is the screech of a slow and winding synthesizer that seeps out when the soaring and wide chorus opens; offering a neat a song writing counterpoint to the language and sounds used within the verse of the song. The track retains a slow and winding quality which somehow never gets boring; an indication of a well written and instrumented song. ‘Cherry Dancer’ showcases the bands more shoegaze tendencies with its largely reverbed opening. The echoes of dream pop still linger however, so much so that ‘Cherry Dancer’ seems like a next door neighbour or companion piece to the more up tempo ‘1799’. From there the band leaps forward into a fantastically disco-darkwave inspired track titled ‘Dark Hair Girl’. The backing of the song sounds similar to an EDM/Dance style track; which contextually mixes well with the more alternative rock aspects that the song holds. The vocals remain deep and full of FX, which makes the singing sound like a direct instrument in the landscape of all of the instrumentation. ‘Dark Hair Girl’s best moments are when the vocals go higher and the band follow, showing off their talent of creating soaring style dream pop.
One of the greatest tracks on the entire album ‘Decor Blonde’ displays the band in full shoegaze swing; reverb drenched guitars and a slower and darker tempo. I believe it to be one of the greatest on the album simply for its fantastic wall of sound styled production; a form and style that adds a whole other dimension to shoegaze music. The lyrics also practice exactly what I mentioned before accompanied by the fantastic guitars and bass, they add an emotive element to the music and sound of the song. Praise also to the fantastic outro on the song, which takes on a whole brilliant sound of its own. ‘Doublespeak’ returns to a more post-punk formula but retains elements of the shoegaze sound explored on ‘Decor Blonde’. This song also takes the disco beats explored on ‘Dark Hair Girl’ a step further with a tight bass and drums section that sounds exactly like a R’n’B inspired track. ‘Doublespeak’ also relies more heavily upon the gradual tap of the programmed drums in the back of the mix. Perhaps the weakest song on the album is the darkwave heavy ‘Electric’; a lengthy and indulgent track with lyrics that seem like they were written by a completely different band than the previous tracks.
‘For Least Resistance’ brings things back into the bands sphere; featuring a synthwave drum and soundscape style of tone with the fancy shoegaze styles of the dream pop guitar. The track even features an experimental-trap influenced style drum machine beat throughout the song which melds into the music in an interesting and engaging way. The strange lo-fi/alt-rock genius of ‘This Blurry Kill’ shows another side of the bands talent of song-writing; tied off magically with the experimental soundscape stationed in the mix. The title track is another contender for the albums weakest song. It sounds somewhere between a B-side and a draft; featuring comedically confusing drum patterns and boring mid-tone vocals. Thankfully the band turn everything around with the fantastic ‘Velvet Holiday’ which rehashes all of the bands fantastic post-punk songs into a dark, more straight forward and heavy song. It’s almost as though Echolust wanted to connect the more synth and darkwave influenced side of their album with the more post-punk side and speaking of which, the atmospheric ‘Zombie Birds’ connects both sides together in sound with the dance influenced drum machine beats and the shoegaze styled bass, guitars and synth. Together this mixture creates something that sounds almost on the borderline of industrial music, something I suppose the band have constantly toyed with on the entire album. ‘Zombie Birds’ features a fantastic and mesmerizing intro that leads into the lyrically diverse verse and chorus in which the fantastic backing soundscapes and sneaky production sneak back into the song.
A few songs into Veldisa I wondered why the band wasn’t going pro; the songs were well-written, thoroughly beautiful, experimental and original pieces of brilliant music. After the opening few songs I was a little less mesmerized and by the second half I showed little-interest to the music, but the second half of the second half managed to turn it around and recapture some of the magic of the beginning. And that, in essence, is how Veldisa could be summed up. The album as a whole drags on and on and on (there are too many songs) and with less engaging songs in the middle, the listener just becomes more bored as the album plays through. In said mid-album area, the songs begin to sound more and more like clichéd and distant dance tracks thrown together to fill album space… But Veldisa doesn’t need album fillers. The band should have stuck to their guns and produced a more compact album with the same sharp and fantastic song writing skills displayed at the albums opening. For that reason Veldisa as a whole seems tiresome in structure, even when a lot of the songs are so well written.
The production is good, the mixing is great and the performances should also receive praise. Together these elements carry the album in its more paint-drying moments and prove that, although not throughout the total album, Echolust can produce a fantastic quality of song writing. I believe the opening few tracks are so good they almost carry the albums more weaker points and for that reason one should definitely listen intently to Echolust’s fantastic skills. These are achieved through mixing, production, performance and sound.
ARTIST: The Wedding Present
RELEASE: Going Going ...
RELEASE DATE: Out Now (UK/Europe) & December 2nd (USA)
RECORD COMPANY: HHBTM Records
Jangle pop meets post-rock meets a bit of this and a bit of that on Going, Going…, the ninth album by well-rounded and deeply influential UK indie heavyweights The Wedding Present. A band (you should probably have a listen to if you haven’t) who have remained a prominent player in the UK indie/alternative scene through a revolving line up and heavy touring. Going, Going… returns to the bands 80’s roots of alt-rock influenced pop rock; instead this time they throw in a jangling indie rock tone that has remained popular on indie record labels from the late 80s onward. This enticing package of genres and sounds is pulled off by the band on most of the album; allowing the listener to fully relish in The Wedding Present and their mature and provoking music and songs.
While on the most part Going, Going… contains moody indie and pop tracks, it in fact opens with four beautiful and engaging instrumental tracks. ‘Kittery’ mixes ambience with the heavy tinge of alternative rock and the neat sound textures that the band were well-known for in the past. On ‘Greenland’ the band reach their most experimental heights; the enjoyable and interesting song is built around swaying percussion. Over the top of the beats are coordinates read out in a lo-fi style; all of this connects together with a slight aroma of musique concrète as the beats play slowly. ‘Marblehead’ is absolutely beautiful, mesmerizing and refreshing in its instrumentation; which consists of a couple of beautiful vocal passages backed with the slow rat-a-tat-tat of the drums and the harp like sounds of guitar. Similarly ‘Sprague’ uses an array of string instruments and the tapping of the piano to create a sound akin to a film score; flowing and tirelessly majestic. And then the band dive deep into their signature sound of indie, jangle pop in the form of ‘Two Bridges’; a neat pop rock tune that jumps and creates a enjoyably danceable melody. The lyrics connect with the music in a brilliant and smooth way with the melody connecting with the easy (very English) vocals and drumming. The awkward ballad like song ‘Little Silver’ follows; which has brilliant post-punk inspired heavy alternative rock passages of music that seem too good for the awkward and almost childlike vocal passages. The performances on ‘Little Silver’ showcase the brilliant and subtle talent of all the insturmental players involved. ‘Bear’ uses the modern English lyrical talents of the band to create a much more relaxed and full form song. The Wedding Present seem to build upon the slight ‘Little Silver’ to create a more impressive pop rock style ballad.
Just think of every single indie rock cliché you can and then tie them altogether…What would it look like? It would look and smell a lot like ‘Secretary’. This is the song that the listener is supposed to say ‘hahahha… Yes, hahaha, yes. That’s quite funny… Yes, I’ve seen what you’ve done there with the lyrics, hhahaha… Yeah, haha’ while listening to. But guess what? It evokes no such dialogue. Instead it’s actually quite cringey and ultimately, although there is more to say (much about the lyrics), I don’t feel like I need to elaborate on all of its annoying characteristics much more. ‘Birdsnest’ is mediocre but enjoyable. It should be noted of the fantastic vocal performance by the backing female vocalist especially, but ultimately the entire band showcase their talent, and more importantly they sound like they’re having fun doing so. ‘Kill Devil Hills’ features some great instrumentation but this steady craft of song writing is counterpointed by the tongue in cheek vocals and occasionally enjoyable lyrics. The band re-captures its sound on ‘Bells’, a fiery and much more heavy alternative rock tune where the percussion and the excellent mixing and production qualities present themselves clearly. The vocals are also back on a track that fits with the music. On ‘Fifty-Six’ this heaviness continues and is utilised to showcase the crunch of guitars and the sound textures the band feel much more comfortable playing. The outro especially fits well with the contextual elements of the song.
The slow and swaying sound of ‘Emporia’ allows the band to reach the quality of ballad that they have been dubiously searching for on the entire album. The vocals on the second half of the song are brilliant as is the wild and free post-rock like pace the music sets slowly for itself. The production shines through substantially to bring all instruments into the mix together and balancing them for a fantastic listening quality of music.
Interestingly enough, I entered into this album wondering what The Wedding Present would bring to the table. Would it be the classic post-punk influenced rock and pop that brought them many fans and acclaim during the 80’s? Would it be the indie rock sound that they carried through to impress audiences with? Or would it be something completely different? Well into the albums opening instrumentals, I was convinced it was the latter. But then… Then I knew that it was indie and indie and even more indie. What’s wrong with Indie music? Absolutely nothing… So what are you on about? Well, to be completely honest; I don’t know if The Wedding Present are still ‘into it’. They seem to be interested in this jangling, indie, alt-rock sound but they recycle bands that they probably historically influenced to create something that tastes generic, clean, not really that adventurous and at times very awkward. The album is by no means bad but I tend to wonder what the aim of the album was. And before you ask; no there doesn’t need to be an aim for any music. It just seems that the band ventured into a studio and recorded this and that, here and there and then threw it together without any sort of rewarding focus. Think what you may of this but I believe the instrumentals to be some of, perhaps the, best tracks on the album. But still, with this in mind, the fact that the album opens with post-rock, ambient, soaring cinematic tracks makes the album unbalanced and confusing. Perhaps the band believed these to be an album intro of sorts but they sit so well at the start that it sort of just sounds like a band recording a film score then deciding to write an indie album. Actually, it is almost like two different bands played on the album; which also adds to the fact that the album is almost overloaded with songs. The lyrics at times sound and read as if the band stuck to subjects explored within their back catalogue but tried to ‘modernise’ them. This doesn’t do them many favours and I wondered whether The Wedding Present were trying to be funny? Or is it telling a story? I don’t know… On such a topic; why doesn’t the backing vocalist sing more leads? On a couple of the tracks the current leads sound tired and insincerely awkward; overly Indie themed and at a contrast to the music.
This may read as if Going, Going… is a second rate album; but I must ensure you that it is not. The production is brilliant and actually is one of the best I’ve heard in a while; meaning the bands choice of studios and mixers came through for them greatly. The mixing is stellar across the album, as are the instrumental performances by every band member. And, just to remind you, there are some fantastic and catchy songs on this album… Which I recommend you listen to. The influence of The Wedding Present on indie music, and in fact UK music is great, and Going, Going... showcases elements of the bands song writing skills and fantastic talent. This is achieved through the immaculate production, neat mixing and sound.
ABOUT THE AUTHOR:
ARTIST: Pastel Coast
RELEASE: Sense EP
RELEASE DATE: 17th October 2016
Plain and simple, straight and true, Sense by the French based dream-pop project Pastel Coast is a neat and enthralling 5/5 EP. When I saw the projects genre to be that of dream-pop, I sighed and wondered whether this would be any different; different to the mass amounts of the genre that are poured out into the public sphere from musicians who think they are truly unique in some various way. Is it different? I’m not sure. Because I started to think as I listened to it; what makes dream-pop good? What makes it an enjoyable and a favourable listening experience? The answer, I started to think, is that if it evokes some sort of emotional response; some kind of ‘connection’ (if you want to get fancy) then it must be of better quality than others. And while I feel that Sense is definitely an original EP, filled with unique and refreshing songs and music, I believe it to be the nostalgic, propounded elements of Pastel Coast's musical and lyrical content that truly makes it a step above the others.
Sense opens with the ideal characteristic sound of the whole EP; the hush roll of waves on a shoreline and the gentle plucking of dream pop tone guitars. This song, ‘Nightfire’, showcases the projects musical landscape and favourite tools for creating soothing, relaxing and dreamy pop music. ‘Nightfire’ centres itself silently around the gentle beat of a drum machine at the back of the mix. Guitars sound light and fluffy; perhaps like the clouds that Pastel Coast are trying to emulate through their music. The sound is drenched in reverb enough so that the vocals and the instruments mix together without being totally audible all the time; which fits well in the music. Altogether I feel the song sounds synthetic; but synthetic in almost a genius way… As though these characteristics do nothing but good for the music. What follows, however, is the best track on the EP. ‘Lifes’ sees Pastel Coast use a more shoegaze texture; they connect this back with the ingredients used at the start of the EP; such as drum machines, heavy reverb, distant but entrancing vocals and simple yet appropriate bass lines. The project also add another gem into the mix; as ‘Lifes’ is where the vocals truly shine. The mesmerizingly beautiful chorus sees the vocals reach high to accompany the guitars in a truly brilliant passage of music. This tight mixture of sound also sees Pastel Coast at their most proffer as the music begins to reek (in a good way) of nostalgia.
‘Synthetic Love’ follows with its lengthy and more pronounced musical structure. The song opens with clear vocals, a steady drum beat and some basic backing instrumentation. It develops, however, over the course of the song, to include a neat synth and heavy, pounding drum machine passage of music. The track reaches its artistic heights with a winding, disco like breakdown in the middle of the song; after which the band slowly plaster things back into one cohesive image at the end of the song. Another truly beautiful and genuinely fantastic song is the aptly titled ‘Don’t Gaze Your Shoes’. By far the most shoegaze Pastel Coast ever broach on Sense, the song appears and projects itself in a much heavier way than others with reverb drenched guitars, more elusive vocals and a slower tempo that could be likened more to gazing at ones shoes than dream pop-ing. The song almost acts as the musical representation of swimming as it soothes; gentle, yet always deep and more often than not layered sounds paddle over the top of others.
Literally everything about Sense EP connects with what I referred to as ‘nostalgia’ in the aforementioned paragraphs. The artist image on the Internet is a colourful photo of somebody walking in the ocean with their guitar; the sky is blue, the water is dark and the whole picture looks like some sort of beautiful oil painting. The EP cover art displays a neatly blended colour pattern, light and full of colours associated with the beach, the ocean and I suppose… The coast? Even the band’s name links in with this dream pop nostalgia beauty, aesthetic. Of course, however, it is the music that links everything together tightly; presenting Sense EP in a neat, good-looking package. The production is almost bordering on lo-fi, which one generally does not associate with shoegaze or dream pop. However the project somehow push this very lo-fi like production quality to the front which somehow adds another gentle element to the mixing on the album. Reverb is heavy, as are the echoed programmed drums and the undercurrent of shoegaze like synths and soundscapes. Thankfully, again, the band use this to their advantage.
The beauty of this EP is immense. So much so at some points I felt like I was listening to Sense while standing on a cove or beach somewhere, ankle deep in the dark sand. And ultimately I feel like that’s why you should listen to this EP; it is a creature of mesmerizing brilliance and attraction, all the while being something you feel has walked you back through the past and placed you somewhere under the sun. Pastel Coast present this image and connect it together through the avenues of production, performance and sound.
RELEASE: She Walks, She Creeps
RELEASE DATE: October 28th 2016
RECORD COMPANY: Sonic Unyon Records
By far the most interesting, engaging, original and experimental piece of music I have heard from a non pro band/music project in the past while, WTCHS 'She Walks, She Creeps' may just be the album to *expletive word* off all of the other phony’s. They’re not even in the same league actually; this album is heavy, dirty, transgressively wild and utterly engaging in its experimentation and sound. Before I go on though, I can guarantee you that a lot of you will probably hate this album. If you love shoegaze, you’ll dodge this album. If you love synth pop, you’ll be confused by this album. If you love dream pop, don’t even look at the cover of the album. This is HEAVY. Because this album is a sludge metal album… And the only thing that stops it from becoming a lengthy, thick, brooding stoner metal/drone metal album is the occasional alternative rock instrumented passages and distant but impressive post-punk inspired vocals that put a whole other angle on songs presented wherein. This is truly an original release; an album of true experimentation and of truly juddering proportions.
'She Walks, She Creeps' opens with ‘Black Actors’ which I can almost guarantee will manage to put the bands detractors and those who dislike metal out of the picture within the intro. The song opens with two minutes of thick, wavering noise and distortion that acts as a complete wall of sound. There are no drums, there are no vocals, there is no context; it’s just pummelling feedback and noise distortion until the rattling of drums seeps in after a while to introduce some sort of rhythm to the song. When all other instruments are introduced the guitars tone takes a step back into something more tangible with a neat post-punk inspired riff. The vocals, far away and barely audible, act as a fantastic counterpoint to the noise filtered and chaotic air of the song. ‘Black Actors’ belts on for over ten minutes; surging and retreating, offering vocals then splintering noise and sound textures built between the heavy percussion, guitars and the soaring but dark vocals. The band showcase just what’s up their sleeve, however, with the tracks outro; the shuddering noisecore wall of feedback with vocals screaming over the top before they are eventually drowned out by noise similar to the tracks intro. But just when the audience are getting their ears assaulted, the band does a clever move and the song swings into a clipping audio sound of distortion that drowns itself out; then quiet. ‘Old Crowns’ follows with a less monumental structure than ‘Black Actors’ and relies on a noise laden post-punk sound that includes plucking high guitars and less experimental vocals. The song projects a fantastic follow up to the wild and epic ‘Black Actors’ and showcases the bands power when it is acting in a less conceptual arc and more traditional song structure.
‘You Own Your Bones’, a nearly eight minute noise rock extravaganza, follows with less of a full beginning; this time the band rely on the bare vocals, guitar and drums. After this small intro, however, the mesmerizingly brilliant swing of the songs structure begins to be played. Which somehow includes a brass section of instrumentation accompanied by a beat one could liken to a carnival ride? This is true experimentation. Where a lot of other bands believe that throwing in extra percussion or doing screams instead of cleans, WTCHS put a brass section into a sludge metal/noise rock song that goes for eight minutes… As I said before; that is true experimentation.
Speaking of which, the much more traditionally structured ‘Whitney At The Rifle Range’ places all the sonic noise into a more compact unit and showcases a more punk orientated sound with the occasional drum passage stationed in-between lengthy guitar and bass orientated passages. The vocals are in another completely different place again, this time sounding like borderline radio static. The track somehow keeps itself together enough to produce an interesting, versatile and engaging song that fits well in the context of the album. ‘Young Girls’ sits comfortable in this same pattern, however WTCHS rely on a more heavy, slow and sludge metal sound. This time, the vocals reach shrieking high notes while the drums keep a slow, steady pattern. If ‘Black Actors’ and ‘Old Crows’ are noise laden beasts, then ‘Young Girls’ are the trees in the forest that those beasts run through; influenced by their ways but different themselves.
Ultimately, the albums most experimental moment lies in ‘Six of Cups’ which starts with samples of percussion that last well over the two minute thirty mark. These percussive, lo-fi style beats are accompanied by slight and distanced soundscapes at the back of the mix; hardly noticeable until they present themselves as what sound like reversed vocal tones. As the listener focuses on these sounds and textures, it becomes evident that ‘Six of Cups’ is like one, lengthy outro track. And eventually, the band confirm this with distorted chanting and vocal like sounds at the back of the mix that eventually drown out as the song fades. And just as you were thinking that this sounds inferior compared to the albums chaotic and loud opening, I believe that this is a contrast; almost like the album has recharged itself in all its noise and feedback riddled glory. Rather than crescendo out onto a whole, volatile album that builds into something like ‘Black Actors’ the band do the opposite and waver the music slowly, drowning out the noise. The songs on the albums second half become more structured, punk inspired and more accessible until ‘Six of Cups’; which I believe to be a brilliant and alternative way to present an experimental album.
As I said before; although this album is by no means avant-garde by any standard, it will not be appealing to everybody who enjoys alternative music. Just how listeners who love sludge metal may not fall in love with it, or folks who love post-punk may not either… And that is because the album is experimental. All the way from ‘Black Actors’ to ‘Six of Cups’ the band cross and swing between sludge metal, stoner metal, post-punk, noise, industrial, ambient, lo-fi, Art Metal and No Wave, which makes the album even more abstractly memorable. Perhaps its greatest achievement is its sheer originality; so many bands doing so many similar or slightly above average things begins to make one wonder where the art of experimentation and originality really is; the answer is its right here, in all its dirty, fuzzy glory. This animal of an album stands to the testament that there is always another step to take in music; whether it’s nice or dirty, clean or sludge, milk or mud. And the band give it their all; through performance, production and sound.
RELEASE: Wide Shot EP
RELEASE DATE: 16th September 2016
Post-rock is almost always at its best when it is subtle, delicate, free-form and bordering on ambient music. It should also be noted that other styles are fantastic, but I feel post-rock and ambient music to be kind of next door neighbours. And so when they invite each other over for a barbeque, beautiful and majestic soundscapes and musical textures are made together; harmoniously, slight but somehow always so clever that it remains interesting. On 'Wide Shot', an EP full of such sounds, French based post-rock outfit Tölva deliver refreshing and earnestly beautiful post-rock/ambient songs that are spiced up by a more progressive sound than your normal instrumental outfit. Wide Shot lands beautifully between post-rock art music and the heavier and louder post-metal genre, offering a neat cross breed of genres and sounds.
Wide Shot by Tölva
'Wide Shot' opens with ‘Poveglia’, which uses fade in to a wild degree before introducing the dense yet fine instrumentation on the track. Much like subtle undercurrents of Berlin School of Electronic Music, the band use a light soundscape to introduce the first plucking of a guitar with bright sounds stationed behind and the neat introduction of the bass guitar. By the time the drums enter the mix, a beautiful yet simple guitar chord progression brings the music together. On ‘Poveglia’ the drums tie everything together in one package, allowing tiny blemishes of ambient guitar textures to sneak into the ear space of the listener. ‘Renton’ follows with a much more progressive rock/post-metal sound, built again around the steady yet full percussion of the drums. The guitars sound much heavier, as does the bass guitar, but even over the crunch of prog-instrumentation there is the rhythmic guitar playing that echoes the bands post-rock core. At around the four minute mark the band leans back toward a more ambient sound and then in a way, step-by-step, they crescendo back to the fuller, heavier sound of the beginning of the song.
‘Puzzle’ begins as an interlude of sorts; soundscapes float while tiny bells are plucked in the background of the mix. The trance-like guitars on ‘Puzzle’ allow Wide Shot to sound much like the soundtrack to a wintery, French or Icelandic film score. The EP’s title track ‘Wide Shot’ seeps in with a very distant fade in (much the same as opener ‘Poveglia’) but introduces a more ambient style sound before breaking into a post-metal wave of energy. ‘Wide Shot’ is by far the most epic track on the EP; soaring guitars and melodic soundscapes all conjoin to form a tight and heavier sound. At around the half way point however, the band slide back into their textured, subtle and beautiful form of a more quiet sound. This time, however, the undercurrents of metal run rampart through the slower and quieter parts of the track. The outro, which begins just past the half way point, connects every trick the band have pulled over the course of the EP and throws it at the listener in a fantastic, vast and satisfying way.
Tölva weave enough magic on Wide Shot to make the listener wish it was an entire album; and that’s pretty much one of the only flaws with this EP… The songs on the EP, while lengthy, seem to set up a wider scope for more potential material that could lead into an album that would showcase a fuller and more structural element of the band. For example, the beautiful and engaging interlude type track ‘Puzzle’ seems as if it’s asking to be noticed more. Similarly the first track ‘Poveglia’ seems like an album intro, with its heavy and fading instrumentation, but feels tight and frustrated in the context of the EP. Also while those who enjoy post-rock, progressive rock, ambient music and different types of heavy instrumental music will find this tremendously enjoyable, some listeners may find it too basic or simple for complete appreciation and praise. But, for those willing, this EP is a brilliant, simple and subtle listen. Each track stands on its own comfortably (even the interlude type track of ‘Puzzle’) and reinforces the bands skill and talent throughout. The performances and mixing are solid, fantastic and engaging; the production is clean enough to be appreciated by post-rock fans and heavy enough to be loved by metal listeners alike. Even the album art is impressive, and links back into the core stylistic elements of post-rock, ambient, textured and dense music. It’s fun and full; enjoyable for its production, performances and sound.
'Wide Shot' is available to buy/download right now from tolvaband.bandcamp.com
ARTIST: Total Gaze
RELEASE: We Need More Condos
RELEASE DATE: September 13 2016
The intelligently and humorously named We Need More Condos is the debut album from Minnesota’s own Total Gaze, a band who sport the term post-shoegaze… Which is interesting both ways; whether you believe it to be a genre or not… But it’s getting off topic to debate genres and sub-genres and how many pedals you need to qualify as a specific type of band; the album evokes a lot of different genres however, including post-punk, shoegaze, ambient and dream rock, just to name a few. Total Gaze juggle these sounds into an impressive and tightly knit type of musical odyssey that sounds a lot let less clean than the average ‘modern shoegaze’ album; bordering on what some would call ‘garage’ and touching on the realms of the whimsically dirty musical genre known as ‘lo-fi’.
We Need More Condos by Total Gaze
We Need More Condos begins with ‘Solid Gold’ which embodies more of the bands gutter sound than its core shoegaze sound. Noisy, unfiltered guitars are coupled with percussive-heavy drums and a low-key bass tone to create a neat, albeit slight, garage rock tune. The influence of shoegaze and post-punk seeps in on the second half of the track, with the song maintaining its garage undertones while embracing an alternative style of guitar riff. An interlude (one of three on the album) features some nice cricket noises but serves no true purpose. One of the greatest tracks on the album is the lo-fi, amazing ‘Don’t Ask’ which remains brilliant in its simplicity. The song utilizes the bands previous garage guitar sound with a fantastically downbeat shoegaze inspired tune. The chorus, in particular, should be praised for its simple breakdown style of song writing and drumming; drawing a fantastic and easily accessible line in the sand between the sounds of shoegaze and the rough, crunchy punk sound. ‘Facing Inward’ plays out in a similar fashion; this time the band sound more up tempo with shaking maraca percussion and brighter guitar sounds. The vocals display influence from no-wave New York yelling and screaming, purposefully distanced from the rest of the mix in a way that does nothing but favours for the type of music the band strut.
‘Interlude 2’ sits warmly between ‘Facing Inward’ and the genius ‘On Fire’, which furthers the band sound. One particular fantastic piece of song writing and vocal delivery is the ‘oh wo, oh wo, oh, wo wo!’ which leads into easily the best chorus and outro on the entire album. This tight sound is perhaps the closest the band get too what you would call ‘post-shoegaze’ with its obvious sound blending at a very downtempo point. Couple this with the sketchy, murmured lyrics and vocals that are still stationed underneath the distorted guitars and rattling drums. Halfway through the song I thought the band had turned the direction of the sound around against themselves, but this interlude style passage of music that sits before one of the chorus’s suits the entire song with a few more listens. ‘Interlude 3’ plays out as an airy-FX filled conversation with a voice drowned in reverb and radio static. It is probably the only Interlude that really and truly alters the context of the album when listened to it in its entirety. A post-punk anthem ‘Sauna Sweet’ follows in a cleaner, much more modern sounding way. While this song may not be quite as compelling as others, it showcases some fantastic performances and features a neat guitar solo/ riff in the second half of the song. Similarly the vocals reach a shaky/louder style that seemed more drowned out by instruments on previous tracks. ‘Television’ opens with an indie style pattern of guitar riff followed by drum beats; this is however drowned out by a fully-fledged piece of shoegaze instrumentation. While it sets up some nice instrumentation and a perhaps more colourful sound than some of the previous ‘heavier’ tracks, ‘Television’ never really fully showcases the band’s sound and song writing skill to its full extent as many of the other tracks do. And while it is not a bad song by any means it’s position on the album and its contextual weight (comparing it to the bands other songs) means that ‘Television’ doesn’t shape up to the heights of the majority of the album.
We Need More Condos is refreshing without seeming avant-garde, fun without seeming childish and intellectual without ever coming across as pretentious. Ultimately there are a couple of ways to listen to the album. One, you can listen to it without any context; instead just for pure listening and interest. This way is rewarding and ultimately shows off and flaunts the bands greatest strengths while simultaneously travelling from track to track. The second, perhaps deeper, way of listening to We Need More Condos is the contextual and conceptual way. This entails asking what ‘modern’ style shoegaze sounds like; the answer being quite different to that of the sound of Total Gaze. And while this album is by no means the most experimentally-history advancing piece of shoegaze music to present itself for a modern audience, it is one that should be appreciated and applauded. So with the clean crisp sound of shoegaze adding to the contextual side of We Need More Condos, the album can be easily listened to as a step away from clichés and distant, echoed sounds that at times borderline completely on ambient music for other bands. Of course, We Need More Condos will not be for all audiences, and with the aforementioned ‘second way’ of listening to consider, it also will not be for all shoegaze lovers. At times the desperate and distanced style of vocals will sound too punk-ish and garage for some listeners, while the guitars and musical arrangements may be enough for others to steer away from the band.
We Need More Condos is, however (albeit not for all) a recommended listen. The sounds and songs fit well together and pan out from the pure alt-rock/garage sound of ‘Solid Gold’ to the sheer post-punk and dream style tones of songs like ‘On Fire’. The band present a wild and tightly garage blend of the alternative, ‘high’ side of town, and the dreamy gutter; drawing an elegant and talented musical line in the sand. They achieve so through the avenues of performance, production and sound.
ARTIST: Archipelago Swell
RELEASE: Archipelago Swell EP
RELEASE DATE: 14th September 2016
There are support groups for drug users, there are support groups for alcoholics; where is the support group for fans of post-rock? Much like the aforementioned substances post-rock is addictive, translucent and a trip of sorts for the listener; for those addicted, we must always go searching for the next ambient, picturesque sound of swirling guitars and pounding drums. On this search it is clear to see just how popular the genre has become and fully displays the kind of culture (or aesthetic) its fans sport and love. But, as is with every genre, there are both masterpieces and… I don’t know, less than masterpieces? Where does Scottish post-rock/post-metal/instrumental band Archipelago Swell’s self-titled EP land on that spectrum? Well, somewhere in the middle, I suppose…
Archipelago Swell by Archipelago Swell
Archipelago Swell begins with ‘Terraforms’ a dark, heavy piece of post-metal underpinned with a touch of psychedelia for good measure. Impressively, the guitars switch between the tones of a heavy metal band to that of beautiful touching post-rock soundscapes; the drums do a similar dance but not as obvious or perhaps entrancing. In fact, the drums and percussion stay heavy and airy for most of the EP, something that always brings the band back to its post-rock roots; in a good way. As with most songs on the EP, the guitars eventually launch into a much, much heavier sound that rickets through your speakers with all the makings of Viking metal, backed nicely to sound heavier by the drums and the neat but at times inaudible bass. For the most part ‘Terraforms’ takes the shape of almost an intro track; the beginning shuffles around minimally (for the most part) before evolving into a heavier/metal-infused track of an epic scale. And that’s where things get a little bit awkward. After some beautifully intricate guitar playing and soft-dream like backing and textures, Archipelago Swell begin to turn up the metal-scale, and do so to their advantage; things still seem neat and instrumentally interesting. And then after the three minute mark there is a cringe-worthy tempo and riff alteration that weaves itself into some slightly embarrassing drum pieces and boring-as-paint-drying guitar *sexually explicit word*. For the small portion of what could be considered an outro the band regain some of the magic that was withheld at ‘Terraforms’ playful beginning, but all in all the bizarre attempt at ‘experimental’ rock is enough to make the listener take a step back and assesse what the band was trying to do.
‘Terraforms’ is followed by ‘The Overview Effect’ a much wider, epic track in which the band majestically bounce back and showcase their true talent. A sweet, colourfully intellectual piece of music, filled with everything the band are good at; blending instruments, writing cohesive and enjoyable riffs and walking the preverbal line between post-rock and post-metal in a greatly pleasing way. The song builds around a sweet, sketched out guitar line that sweeps and plays around the pounding but delicate drums and churning bass guitar. Epic in scale but never pretentious, the band dabble with a touch of math rock in the outro; which is where some of the greatest slices of music on the track are stationed. This track functions as a full leap into the core of the sort of sound that features on the EP and a step beyond the basic functions of ‘Terraforms’.
What follows is ‘Olympus Mons’ which is... Not that flash actually. What starts as a semi-interesting guitar riff just goes on and on, full of meaty-ness or whatever you want to call it… Occasionally there is a noise in the background that’s supposed to make us all go ‘what a post-rock song this is’ but isn’t really fooling anybody. Wait, I’ll do a cover for you: *Chug-Chug-Chug-Chug* *drum roll* and so on and so forth. Congratulations to the bass player who wrote and played interestingly enough to keep the band slightly above water. This isn’t offensive or meant to be abusive because I still think the previous track is absolutely brilliant, and that elements of ‘Terraforms’ are also beautiful and genius pieces of song writing; but I really don’t know about ‘Olympus Mons’. So here goes; the song has way too much reverb, the opening sounds like an interlude; the riff is uninspiring, generic and bland… And then there is the mixing and the production… Which leaves a lot to be desired. The levels of the guitar on the second half of the song are just so all over the place it literally transcends making an effort. It’s like somebody spilt alcohol on the mixing desk and the levels just started doing the can-can all over the place. And what in all musical sanity made the band put galloping guitars in… Like what are they doing in the song? Is this to try and see-saw the song between credible but bland music and humour? I don’t know. I really don’t know. I didn’t want to make it sound like this, but this is the PG version of what could be written about this; I apologise, but I just can’t put it any smoother. That’s just ‘Olympus Mons’ and how it sounds, how it’s mixed and how it’s heard.
‘Olympus Mons’ leads into ‘Accretion’ which seems somewhat refreshing, albeit nowhere near the pleasing heights of the EPs opposing half. There is more chugging at the songs opening, reminiscent and following on from ‘Olympus Mons’, but this gesture soon seeps into a soft and pleasing outro. Said outro presents a beautiful and majestic piece of post-rock guitar playing. The drums and bass ease back and the whole song sounds like a gentle and atmospheric sigh of relief; like a return to form for the band who use the outro to showcase their talent at simple and dreamy song writing. Eventually the softness of the outro blends into a more heavy and guitar orientated piece of music. I feel like this part of the song is what ‘Olympus Mons’ was trying to or could have been; a nice and enjoyable but epic piece of music.
Okay, okay, okay; a few things you should know. It may sound like in this review that I’m spitting on post-metal… I’m not. I actually love post-metal and the sort of sound and instrumentation a band or artist can play around with while under the moniker of its name. This band has some fantastic pieces of music that are definitely worth listening to. And ultimately, I think both post-rock and post-metal are difficult genres to sound refreshing or original within. But Archipelago Swell at times just try to transcend this difficulty… You’re probably saying ‘well they aren’t pro so…’ but one would only have to look as far as how absolutely mesmerizing unsigned post-rock can be by listening to 'Vinter' by the majestic and very talented 'Star of Heaven' from Stockholm. And while there are certainly many beautiful and fantastic pieces of music and songs on Archipelago Swell, I just can’t help but wonder what they were doing on some songs. At times it’s awkward, at times it’s cringey and at times I wondered whether the band had re-listened to the songs before releasing them. Anyway… I did enjoy some of it, and those pieces of enjoyment were enough to perhaps recommend the EP around, but ultimately I just guess that the listener can decide for themselves. If you enjoy post-metal, if you enjoy post-rock then you might appreciate this. If you are looking for some instrumental songs to chuck on in the background without looking too closely at them, this is for you. If you’re a stickler for production, assessing song writing structures and neatly looking ‘into’ the mixing and the songs meaning, then this is not for you. Credit, however, to the band for their performances, which throughout shine and make things interestingly swift and engaging. Shout out to the bassist for keeping things always interesting throughout the EP (that’s not a joke). You should know that within this EP there is some fantastic and engaging music from a band whose talent sometimes drift, but when it’s practiced; it’s a rewarding listen. Within this talent the band impress through blending, performance and sound.
Archipelago Swell is available to buy/download right now from archipelagoswell.bandcamp.com
ARTIST: Jenny Besetzt
RELEASE: Tender Madness
RELEASE DATE: 15th July 2016
RECORD COMPANY: Friends Records
Tender Madness is a full length album by North Carolina’s Jenny Besetzt, a group who uses fast tempo in contrast with dark sounds to create deep and vast post-punk that sounds as if it was conceived at the beginning of the post-punk era, but was recorded much, much later. Over the course of eight tracks the band do little to confront the listener; an intelligent and crafty move… Instead they pull their music back from distinct definition and throw very few punches. You’re probably thinking that’s an insult, but it’s very much the opposite. Modern post-punk bands try so very hard for sounds and songs to be noticed… They throw soundscape after soundscape, turn instruments up louder, sing the lyrics in Japanese, play with their guitars not plugged into an amp and what not just so the audience, or the reviewer, says something like ‘this album is really in your face’ or ‘there is a lot going on in this album’. Sure they may be compliments, but when so many bands do it, it’s refreshing to hear a post-punk outfit sketch out songs and play them as they are… You know, without a million different guitar lines that all sound muted because the kick drum is turned up so loud.
Tender Madness by Jenny Besetzt
Tender Madness opens with ‘Authorless Speech’ a fantastically dark and shoegaze-inspired song that starts with slow and neat dream pop guitar after which fantastic double tap drums enter, but only distantly, in the background of the music. Through this brilliant piece of song writing, Jenny Besetzt begin to display the kind of musical colouring they fluently practice possess; firstly with the magnificent post-punk sound and then with the heavy, deep and baritone vocals, which brings the song onto a whole other level. Black As The Night purrs on a beautiful vocal, it's the albums entire vocal section that really holds everything together fantastically, especially the instrumental riffs and the beautiful underpinned synths. Such amazing synth tone may be heard on ‘Dorothy Everything’s Fine’, one of the albums true highlights; inspired by darkwave dance tracks and slow, classic post-punk guitar with bass that is drowned out by the aforementioned synth sounds during the chorus. Soft spoken, murmuring, deep vocals float heavily within the mix and the whole thing sounds like a true reflection of a style of sound that so many bands have tried to reach for but just end up sounding generic within. An average interlude follows, entitled ‘Kanizsa Triangle’ which is built predominantly around a choir like synth piece that plays softly with a few samples chipping in the background.
‘Lunar Talks’ opens with what sounds like a heavy metal riff, but eventually seeps back into a dream pop style tune. Over the course of the song, the band build up an alternative, dream like riff before splintering back into heavy, industrial sounds of the beginning giving the song a wild and spinning feeling. Perhaps the greatest song on the album is the playful, dreamy and utterly beautiful title track; its beginning is that of a loose, pictorial dream sketch, utilized through soaring synths and guitars. This song is the closest the band get to what some may refer to as ‘nostalgia’ and they do so with a kind of elegance and grace that never broaches textured simplicity. Eventually the song gets more downtempo and situates itself back in the light of the bands previous sound, but all the while it never exceeds its trance-like beauty and swift, easy appearance. Both Tender Madness & ‘The Rabbit’ acts as a sense of ease and ambience to the dark and heavy post-punk songs that preceded them. The Rabbit features lighter vocals, a brighter and more melodic sound courtesy of the indie-inspired guitar plucking and the pulsating soundscape of synth under the mix. One should also listen closely to the enthralling instrumental outro to the song, which crescendos into a fantastic math/post-rock inspired piece of guitar and drum playing. This tiny piece of music, enough to only fill a small portion of the song, is symbolism of absolute musical genius; subtle, engaging, alternative and absolutely captivating in its presentation.
And that’s that. But before you go and enjoy these songs on all their post-punk merit and dark but sweet musical textures, there is something more to be perceived about this album. Go out and find a modern post-punk album and I am sure that the band will go deeper and darker as the album goes on. Either that or they will chuck a lengthy, epic, synth and soundscape filled piece on the tail end of the release. Well, Jenny Besetzt have done neither of these. They’ve instead started with the dark and substantial alternative musings and drawn out the ending to something else, to something more; something that sounds more illuminated. With this in mind (and what was written before about how the band have presented the songs as they are) this album beats out on being another generic post-punk revival album; offering a neat conceptual reward for the listener by showcasing lighter songs on the end of the album. All in all the production and mixing are good and the performances are brilliant, but the real crux of the pleasures of this album are held within the band’s song writing ability, which at times sounds as though it is throwing a swift middle finger up to all the clichéd alternative bands out there. Where others would try too hard, they have not… And this shows itself simply and neatly through performance, concept and sound.
Tender Madness is available to buy/download right now from jennybesetzt.bandcamp.com