Deer park ranger - Moderation - Featured Image - (700x700)

EP REVIEW | Deer Park Ranger - Moderation

Deer Park Ranger - Moderation - Post Image - (300x300)ARTIST: Deer Park Ranger

RELEASE: Moderation

RELEASE DATE: 17th august 2017

RECORD COMPANY: Fluttery Records

'Moderation' is the second EP by Oakland based post-rock/ambient project 'Deer Park Ranger'. It’s a neat little release that puts aside assumption and pretentious musicology while still being as interesting as a full length album. It's a warm and fuzzy six track that’s as enjoyable as it is simple, smart as it is showy. Across the track listing 'Deer Park Ranger' mixes a Radiohead-esque approach to electronic instrumentation and programming, while underpinning the sound with post-rock progressions that flesh the whole thing out in an audibly enjoyable way. While some may pertain it to be ‘slight’ or simply background music, I feel a comfort in 'Moderation' that seems to be somewhat absent from much music that comes around under the banner of post-rock… and it is both refreshing and absorbing for just those reasons. The album was officially released back on August 17th 2017 via the good people over at Fluttery Records and it is available to buy/download right now from both fluttery records.com and deer-park-ranger.bandcamp.com respectively.

'Moderation' begins with ‘Shipwreck’ and a bellowing, rumbling wall-of-sound style strum that slowly introduces background guitar melding. Where many of the other songs on Moderation project a happier, more enjoyable and perhaps bright-minimalist sound, ‘Shipwreck’ opens things in a much more downtrodden way. Beautiful piano guides the song into its second half, while the beat of a drum and what sounds to be a synth play calmly in the background. This is melodic ambient music at its best. ‘Another World, Another Time’ delves more cinematically, albeit with the same stripped back sounds of ‘Shipwreck’. The inclusion of what sounds to be a layer of brass instrumentation also adds a deeper dimension to the sound and song as a whole: an EP highlight. Even the small interlude ‘Old City’ is an impressively simplistic track in terms of the EP, and functions as a well rounded song despite its length and standing on the EP.

‘Time And Distance’ is perhaps the most post-rock that Deer Park Ranger goes: the opening threads picking lines of guitar together to make fantastic soundscapes and ambient textures. The eventual guitar-based tricks that Deer Park Ranger use to build and conjure mood also come across beautifully, especially when contrasted with the backing piano. A shorter song (around the same length as ‘Old City’) utilizes a post-punk drum beat, skeletal but well layered guitars and piano to create another fantastic track that builds up before pandering off slowly and carefully. In terms of beauty: through texturing, colour and layers, there is no greater track on 'Moderation' than ‘Seeing All The Shelves’: it’s a crescendo of instruments and soundscapes into a mesmerizingly mini-epic sound. Again, the greatest element of this sound is the tinkering piano that guides along the other instruments with power and subtletly that makes it less of a slog than you’re average prog-rock song.

Usually when somebody releases a post-rock or progressive rock album, we all spend our time listening and then stepping back, having had enough of one giant slog through sound as it was. Funnily enough, I feel like when I finished listening to 'Moderation' that I only wanted more. Its been a while since I’ve listened to something so soothing yet simple, so smart yet so stripped back, and so comforting while being slightly challenging. The production, much like the mixing, is of a top quality standard and it a brilliant and relaxing accompaniment to the flow of the sound.

4/5

LINKS:

deer-park-ranger.bandcamp.com

flutteryrecords.com

ABOUT THE AUTHOR:

Cam Phillips - Contributing Writer

Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian based heavy music blog, I Probably Hate Your Band.


Ruins Ruins - Mammock - Featured Image - (700x700)

ALBUM REVIEW | Ruins! Ruins! - Mammock

ARTIST: Ruins! Ruins!

RELEASE: Mammock 

RELEASE DATE: 10th August 2017

RECORD COMPANY: Fluttery Records

The rumbling sound of a deep but somewhat cinematic cello, backed by the rumbling march-beat of a drum and the occasional strum of a guitar opens up the wondrously bizarre carnival of music and sounds created by Russian natives Ruins! Ruins! A band who dwell somewhere in the Siberian forest. To accompany this contextual imagery of forests and the wild where the band reside is their own free form, dirty, heavy and dissonant brand of post-rock. I wish to clarify that when I say post-rock, I mean the furthest thing away from the ambient tinkerings and soundscape-backed light drone music that has come to represent the genre. Rather, Ruins! Ruins! project sludgy, progressive rock style ‘big’ riffs that are contrasted with passages of cello based, string music and playing of the utmost beauty. Together, these elements make their album Mammock a truly engaging deep dive into what can achieved in post-rock music with a bit of grit, distortion and experimentation.

‘Serene’ opens the album with the cello/drum/guitar sound that I begun the review with, operating as a neat intro to the heaviness and raw-rock sound of the album. ‘Hurricane’ captures the essence of the whole album: large, crunching and dirty, with several shifts in tempo and style to create balance along the way. Around the three minute mark, the music notably slows down to a fantastic chug of guitars and cello interlocked together before diving back into a wide scale of the songs origins. ‘Distress’ turns things even heavy and features some of the greatest textural blending on the whole release, especially towards the end of the song. ‘Grab’ opens with the feedback echo of a guitar and a drum beat that welcomes in a catchy bass line. Just as you think Ruins! Ruins! are going to turn it up again and go full on, crunch-down with their drums and guitars, they instead slow down and turn the song into a tight display of rhythm. ‘Arch’ sways on for over twelve minutes, and what first sounds interesting and appealing slowly turns into a slog through the preverbal mud. There are indeed interesting and perhaps even beautiful moments on the song, but its lengthy and overblown running time becomes exceptionally tiresome, especially with a middle section that is built around already explored territory. A brief dance with the china symbol just before the ten minute mark makes the last section the most enjoyably fascinating over the course of the entire song.

‘Kurta’ proves to be one of the albums highlights: its textural cresecendos are made all the more rewarding when the vast and wide prog breakdowns are backed by more ambient, sound scaped guitars. The drumming (as well as the other instruments) are of a strong and rewarding quality also. Chucking another over eleven minute song onto an already lengthy album is ridiculously game, but thankfully ‘Szorstki’ is a different beast altogether. Opening quietly and with a slow-burn progression into a much louder and more full sound, the song captures the essence of what fantastic progressive rock should be: tight, loose and a step-by-step journey into engaging sounds. ‘Collumns’ is the opposite: over six minutes of throughouly monotous down-strumming ‘hard’ rock. ‘Polynya’, however, is another fantastic track and definitely yet another album highlight. The border line black metal-esque opening receeds into long, slow, and downtrodden guitar scapes that build up again with the assistant of tight and melodic drumming.

'Mammock' is an interesting mixed bag of sounds. Sometimes its bordering on feats of alternative and prog-metal, other times it shows the listener nothing more than beautiful cello and tight yet simplistic drumming. The underlying genre of the whole release, however, is that chuggy-chug-chug-chug prog rock sound… Which becomes tedious as easily as it becomes interesting. The first half of this album is a fascinating exercise in dirty, open ended prog and post-rock musings, but by the time the second half of 'Mammock' rolls around, things start to feel a bit on the tiresome side. I completely have nothing against lengthy songs or lengthy albums, but where fantastically original bands such as WTCHS and My Invisible Friend triumph in their extended adventures through sound, Ruins! Ruins! don’t alter things quite enough to keep themselves in the ball game. Similiarly, they don’t keep it avant-garde or experimental enough to justify their song writing choices. Of course, there are redeeming features throughout the album: almost the entire first half is enjoyable and engaging and select songs thorugh the second half retain this neat and original flavour. Also the performances are of a fantastically strong quality, balancing the enjoyable production with a heavy yet melodic sound.

3.5/5

LINKS:

ruin-ruins.bandcamp.com

www.flutteryrecords.com

ABOUT THE AUTHOR:

Cam Phillips - Contributing Writer

Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian based heavy music blog, I Probably Hate Your Band.