ARTIST: Mirror Days
RELEASE: No Hope For Getting Better
RELEASE DATE: 31st October 2016
RECORD COMPANY: Unsigned
Soft, dreamy and influenced by a myriad of different sounds, LA based dream pop/shoegaze/soft rock recording project Mirror Days go into complete introspection and release a beautiful album which sounds like a kind of matured re-structuring of music featured on their EPs from the past. No Hope For Getting Better presents itself in a kind of meditative subtleness; never trying to sound too full or dense but instead creating a mesmerizing deep sound that resonates and plays out with a different kind of heaviness. Part- laid back beach inspired hipster dream, part introverted reconciliation, part directed self-expression, the album comes off as a kind of dazzling diamond of a piece of music; so beautiful and clean, but at times so shiny you can’t totally see into it… In a good way, of course.
No Hope For Getting Better by Mirror Days
The album opens with the breezy but aforementioned type of heavy ‘In Focus’ which is built around a calm and contemplative vocal FX and the slow roll of soft rock instrumentation, until the pounding drums enter into the background which turns the song into a more dream pop key. Lyrically the song takes the shape of the projects name as the vocals send their time questioning, wondering and humbly musing in a kind of reflective manner. The more shoegaze but utterly brilliant ‘Endless’ follows, featuring a more drowned vocal performance; adding a kind of post-punk element to the music. All the instruments join in an imaginative sound to step above vocals; making them sound heavier and deeper. The whole song, however, forms around the beautiful and rich instrumentation that makes it a step above what it could have been. ‘Left to Wander’ features more of a similar kind of instrumentation to previous tracks but adds another layer with a more poppy sound. It also seems to build upon the aforementioned dash of post-punk by incorporating more a coldwave sounding guitar and post-punk inspired bass riff. What makes it one of the albums highlights is again its tone and distinctive sound; the vocals and lyrics seem even more studious in content, again evoking the undercurrent and thematic elements of a more dream pop sound. This track is followed by ‘Time Won’t Heal You’, a shoegaze heavy song which begins with a shoegaze melody coupled with the dream pop aesthetic explored previously on the album. Impressive and well produced and mixed drumming holds the sound together while the guitars snake their way through the soundscape texture of the song. All the while the vocals extend into phrases that follow the instruments around and create interesting contrasts for the listener.
‘Low’ is an enjoyable and noteworthy interlude that features in just the right place for the album to flow and continue in the desired way. ‘Old Beginnings’ is a good, straightforward song but only continues the sound and tracks that have featured on the album before it, making it less impressive. That’s, of course, not to say it’s not a well written song, but it is definitely not one of the best on the album. Driving guitar opens the song ‘Spinning’. Its more melodic heavy sound gives it a hypnotising quality; couple this with the distant lyrics and moody air of the track and you have a song that is far away from the soft rock-beach aesthetic at the beginning of the album. ‘Spinning’ dives straight into the ocean, now dark and deep, to move away from its past while keeping one eye firmly in its preverbal rear-view mirror. ‘Rest Assured’ seems like the character or voice within the previous songs has finally made a decision of sorts. What kind of decision? What is the decision about? I have no idea. But as the most colourful and ‘least heavy’ song on the second side of the album it seems that the core tone has altered back into a more relaxed sound; slow and inward in a different form. These elements all join together to create a picture and ultimately to make the listener revaluate all the previous songs; to consider them in a different kind of light. No Hope For Getting Better thus presents itself together with this loose yet interesting concept involving regret and pondering of the past. And just as the album soothes with its opening chords and notes of a soft rock style sound, the complexion of the music swells into a whirl pool of darkness, depth and heaviness throughout the second half; ultimately culminating with the more considerate ‘Rest Assured’, bringing the entire album into a kind of full circle. A fantastic and engaging element of the music is that said content doesn’t only appear as a lyrical feature. In fact, the music and instrumentation pushes this kind of concept and emotive experience more so than the lyrics on a lot of moments on this album, and when it’s not just the music, it’s the music combining and contrasting the lyrics in a beautiful way.
Overall almost all the songs themselves remain enjoyable without featuring in between other songs on the album. Mirror Days talent of combining genres such as dream pop/shoegaze/soft rock/post-punk and alternative rock showcases the projects tight and impressive performance and song writing skills. It was mentioned in the PR kit for this release that the album features no electronic instruments; an extremely noteworthy feature as many bands program this and that to achieve sounds in a synthetic manner. Rather, like the music and the lyrics, the instruments come pure for the listening experience. An experience which is assisted with brilliant low key production and a type of mixing that saves the heavier drums from drowning out other instruments in a song. The projects actually talent with playing said instruments is also immensely impressive and can be heard through the magnificent production 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 the Australian heavy music blog, I Probably Hate Your Band.
by Primal Music
ARTIST: In Light Of
RELEASE: Little Treasures
RELEASE DATE: 18th November 2016
Simple and easy… 5/5. And that is, really, that. You know, we could talk and jibber about this and that and the high and the low points; we could peer inside and try and examine what exactly is doing what and what makes the music interesting or engaging… But the best way to describe In Light Of’s new EP/Mini album is by the title they have given it; Little Treasures. A title fitting for a small collective group of songs that push the boundaries of post-rock into more experimental territory and that gives the name lo-fi a prettier looking face in a contextual sense. Landing somewhere between what is generally dubbed ‘ambient’ music and post-rock, the EP comfortably spreads it wings in a sometimes minimalist fashion to cross the path of art rock, dream pop and experimental music. Beautiful, mesmerizing, playfully introspective and kaleidoscopically bright, the band presents not only a well-rounded EP, but an interesting and engaging piece of musicality.
Little Treasures by In Light Of
The EP opens with ‘Bless Your Heart’, a song based around vivid and distant soundscapes that include dream pop sensibilities while introducing the soothing sounds of string instruments into the mix. Even though this is the opening song, the band’s mode of song writing and production are on full display to convey their idea of how post-rock music should sound. That idea is that a song is not a song. Instead, they present what is known as a song as a mesh of different colourful sounds that join together and blend to create a textured style of song writing. The listener doesn’t hear a song; they hear sounds. Sounds that join and form other sounds that lead onto different sounds that set up the music for a different sound and so on and so on. On ‘Bless Your Heart’ these sounds begin as a kind of representation of bright, lucid colours and dreaming; the sounds are all beautiful, slight and warm. On the other side of the song, the string section picks these sounds up and adds a different dimension to them entirely. The song eventually becomes swept up in the beat and sound of the drums which forms a kind of loose musical structure that the listener can follow along to. This is followed by the much more stripped back and acoustic laden ‘Cardinal Song’. Again, the band play with smaller and ‘lighter’ sounds that crescendo as the song continues, always holding the same attitude of sound. ‘Cardinal Song’ however, unlike the EP’s opening track, goes full song in a musical sense; beginning with an acoustic phrase that also appears later.
The title track melds the acoustic mood and the textured sound of the previous tracks together into a song that evokes imagery of bright and soft clouds and some kind of relaxing landscape. The soundscapes that the band are backed up by the slow and steady pace of a drum beat that sits at an extremely relaxing and comfortable volume in the mix. The bands use of piano shines heavily on this song, especially around the midway point where it chases the acoustic guitar around the bright patterns in the background of the music. The song sounds as though In Light Of have captured the albums cover art and set about writing a song that conveys that place and mood to the listener; beautiful. ‘Ascending’ introduces a more digital element to the album; opening with piano and synth like sounds that build up into patter-like drums or samples perhaps? All the while the band maintain their signature layering of noise and sound in the background. There may even be a DJ scratch in the music somewhere… Maybe, or is that something else? The middle of the song acts as a sort of contemplative ease which resonates with some kind of introspective tone; the slow drumming enters and the listener notices just how much is going on in the song and just how many instruments and sounds the band has layered therein. ‘Harmonica’ revisits a lot of the music that the band has explored and showcased through the EP and thus, while still greatly enjoyable, doesn’t present anything vastly different or alternative in the face of the other songs.
As previously stated, Little Treasures presents an alternate definition of the word song. There is little completely ‘traditional’ forms of song writing on this EP. Sure, there’s the occasional acoustic guitar riff or a section of notes and chords that link together for a while but overall much of the album relies on collages of soundscapes to tie themselves together over the top of a drum beat or noise. This is brilliant. And the whole thing is brilliant. It’s so beautiful to listen to; whether that be intently or as background music. It’s an indication of how post-rock can be manipulated into different forms and styles and because of this, Little Treasures could easily be labelled experimental above any other genres; but it is not wild experimentation with a million different guitars, feedback or a trillion different samples, it’s just the simple things; the stripped back elements that make you really look into a sound.
Apparently the making of Little Treasures was somewhat of an experiment within itself; each member of the two piece sent the other music that eventually was edited, composed and re-written into some coherent form of music. This practice puts a lo-fi like spin onto the music on the EP. But not in a grainy, screechy, scratching style but in a more uncovered, honest way that pushes the music forward and helps illuminate every tiny sound throughout the EP. Little Treasures is not an album for those seeking structural, tonal and verse-chorus formed music… But it is however a truly rewarding and intelligent piece of music making that emphasises the tiny cogs and gears that musicians generally coat up with heavy production and song writing techniques. Their music overall is helped greatly by their skills in editing, mixing, performance and sound.
RELEASE: Hello We're Not Enemies
RELEASE DATE: 17th June 2016
RECORD COMPANY: Seashell Records
Hello We’re Not Enemies is an album by Milan-based electronica outfit Novanta. On this release, over seven tracks of varying lengths and degrees, Novanta carve and pump out a wide range of beautiful and elegant alternative genres that paint a shimmering picture of a band who are fully pledged to their art form. And that is one compliment that must be instantly handed to Novanta and this album; it is a reflection of a band with a plan who have laid out seven diverse but fantastic tracks, in a great track listing, giving each song enough space to bounce off the one before. It is hard to explain, but after listening to the album over and over, it is its structure that (besides the music) is one of its strongest points. This coupled with its echoed Synthwave production and mixing, make for a refreshing, interesting and great listen.
Hello We're Not Enemies by Novanta
The album opens with the atmospheric intro-instrumental track, ‘Sonder’. With its humming and heavy synths, it seeks out to paint a picture in the listeners mind, and does so successfully. What is this picture? It is of a dark, empty highway that runs through a metropolis like city, perhaps in the 3000’s; and the band take the listener on a journey down this very highway, equipped with bouncing drum machines and an elegant and neon-bright soundscape. It is a piece of darkwave genius that leads straight into the belly of the beast; or in this case, the heart of the city. ‘Goðafoss’ follows on from the synth of ‘Sonder’ but adds a whole other dynamic at around the fifty second mark with a flood of soaring synth, drums and a neat background guitar to create an emotive and sophisticated coldwave sound, descending into the depths of post-punk. This is one of the albums greatest tracks, perhaps partly based on the fact that although it is sung in a language other than English, I can still (without understanding the lyrics) feel the vocalist’s sensitive and magnificent performance and know it is of a whole other stature; that it is a brilliant track. As the song pumps on in a post-punk/electro tone, it flows out into a beautiful final piece of keyboard contemplation and ceases at around the three minute mark, even though I could have listened to double its running time and still be immersed in the sound and music. ‘Mike’ begins with a kick drum-heavy eighties inspired drum machine, and seeps into a serene bass and keyboard hum, with great Cure-esque vocals that build the song up to its dark and glistening chorus, where climbing synths pulsate the background. If ‘Sonder’ was the trip toward metropolis and ‘Goðafoss’ was a metaphorical wander of its dark streets, then ‘Mike’ is the contemplative subplot of a character lost within the city labyrinth, rising in elevators, staring out the window as it climbs a massive building. ‘Mike’ is visiting the cold, rolling shoreline and gazing out as the wind blows in from a land beyond; utterly enthralling.
‘Tell A Story’ holds up the middle of the album with dream pop sensibilities and composure, but Novanta attempts to stuff the track full of different genres; an act that does not propel ‘Tell A Story’ to the monumental heights of the previous tracks. Instead, the song seems drawn out and jumps from sound to sound, with a reverbed and low-mixed dreampop/shoegaze vocal track in the background, coupled with the slow tap of a drum machine for a full and heavier sound. ‘Blue Lagoon’ stands at over seven minutes and utilizes a similar sound to the opening three tracks, although this song becomes less engaging at the beginning and flourishes as an intelligent and full sound toward the tracks closing. I feel like there is more potential in this track, as the band have demonstrated before how talented they are at choosing their sounds wisely; as it is used only minimally on ‘Blue Lagoon’. However, the three minute mark shines brightly another intelligent piece of music making from Novanta; who enhance the track to a tribal, dream like stature. ‘Melted Eyes’ closes the album with an eerie, dream evoked sound with a touch of darkwave that connects fantastically with the other tracks on the album. If the listener has been wandering the proverbial dark metropolis landscape for the album, then ‘Melted Eyes’ serves as a clever conclusion and a meditative beginning. The piano that touches quietly over the rumbling synth shines light into the heart of the darkwave resonance, and the listener emerges quietly from the labyrinth of coldwave into a whole other world full of light. At the same time, the distant tone of the vocals evokes a sense of contemplation deep within, coupled with a reflective power that allows ‘Melted Eyes’ its own beautiful place on Hello We’re Not Enemies.
The opening three tracks are the absolute highlight of the entire album; they spin with darkwave perspicacity that sooth and offer the listener the opportunity to reflect on the deep and post-punk influenced sounds of the album. Although this is not necessarily a concept album, I felt as though the first half was a fantastic construction of the aforementioned picture of a metropolis like city. With this in mind, I felt the middle few tracks fell out of this concept; so I examined them as songs in their own right and felt only moderate interest toward them. Novanta pull themselves together, however, and finish quite strongly on the last few tracks. Overall the album is great; but it could have been even greater, with a more direct and fleshed out sound. The production is good, the mixing is strong and the performances should be praised on all the tracks. With Hello We’re Not Enemies, Novanta meld together post-punk, electro, shoegaze, darkwave and synth stylings to create a fusion album of spectacular depth, a reflection of their skill with the art of sound.
‘Hello We’re Not Enemies’ was released on the 17th June 2016 via the Palermo based independent record label Seashell Records: seashellrecords.bandcamp.com
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
ARTIST: Daniel Land
RELEASE: In Love With A Ghost
RELEASE DATE: November 25th 2016
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