ARTIST: Seventeen Years 


RELEASE DATE: 14th February 2017

RECORD COMPANY: Spirit Goth Records

What do you get when you cross the ethos and contextual background and instrumentation of old school post-punk with a fresh, modern form of dream pop? Well it’s something like 2004 by Kansas based Seventeen Years, an EP that appears not in waves of noise or walls of sounds, but in a slight, dreamy way… With a tinge of punk thrown in for a wild flavour. At times the release can be so subtle that the vocals fade into the music; creating one big pool of sounds, thoughts and noises that form a song. 2004 is by no means a step forward in the genre; nor is it wildly different, it’s just a simple little EP… With a bit of this, and a bit of that. The album was released back on the 14th February 2017 via the ever prolific ‘Spirit Goth Records’ and you can buy/download it right now from

2004 opens with ‘Strain’ . It features a clean, crisp FX guitar sound and the churn of a tight bass guitar riff that sounds like it could have come straight out of a 1980’s coldwave/post-punk song. In a similar way, the drums smash away in a double tap snare mentality that accompanies the bass guitar smoothly; creating a tight, well performed and well produced rhythm section. However, of all the songs instrumental and production elements, it is the skilfully drowned out vocals that give the song a radiant, almost slowcore, dark mentality. After a few listens, one can really appreciate ‘Strain’ for what it is; and that is a dark, wallowing piece of contemplation. Where many dream pop artists turn to the bright, sparkling cliffs of blue oceans and shorelines for metaphors and onamattapea to create a warm feeling of nostalgia or hazy coloured contemplation, Seventeen Years turn the opposite direction and carve up something different altogether, while at the same time maintaining that aforementioned air of nostalgia or yearning. ‘Worthless’ begins with the same guitar picking as on ‘Strain’ and dives further into the musical style explored on the opening track. The vocals remain drowned; a major highlight of the song is a passage where the vocal performance and guitar interlock in a solo section where one tries to dampen out the other: brilliant. Although the greatest moment in the song is the fantastic guitar solo/outro in the second half of the song; speaking so many words without singing any of them.

‘VGS’ begins with a programmed beat before introducing guitar and then a few bright soundscape pieces of noise that link back into themes associated with rear-view mirror gazing. It may be the EP’s best song, fit with an obtuse kind of artificial sound in the drum machine that is contrasted with a heartfelt vocal and guitar performance, all the while underpinned by the bright sounds and samples that dance around in the mix. ‘Bury’ turns the mood into a lighter, brighter feeling. Credit to the fantastic riffs explored on the song that really highlight the bands skill and talent. A song that sounds different again is the follower ‘Moonhome’, which seems to see the music shining brighter while the lyrics going the opposite direction. There is further exploration made with the guitar, and a great sense of musical blending and textualizing with the bass and guitar sounds. Toward the second half of the song, the band enter into a dreamy, hazy, jam like section of music that sounds truly marvellous, underpinned by the upper fret pickings of a FX’d guitar. ‘Ascend’ begins with a warm wavering pad of soundscaped pop synth that progresses all the way through the song; eventually accompanied by percussive electronics and some buzzing and whizzing noises that sound like a computer being started up or something like that. ‘Ascend’, in context with the EP, is like some sort of outro or later album interlude; providing beautifully dreamy instrumental sounds.

Funnily enough, 2004 sounds like some sort of concept album when you think about it. It’s concept being the sound and instrumentation of the music; beginning in a dark and hushed way before slowly turning light as the EP goes on. Perhaps Seventeen Years meant to do this, maybe they did not, either way 2004 is a great piece of music that really makes use of the things it has. There isn’t eighty million synths all humming away in a cacophony of sound, there’s no ethereal samples or tricky sequencing; it’s just a band, a few tricks here and there and then some added sounds and noises that add to the whole thing and ties it together nicely. As mentioned before, the performances highlight what the undercurrent of dream pop practice really concerns… That is the belief that music can morph into imagery, and that imagery can be as emotive as the music itself. Seventeen Years accomplish that here, through mixing, performance, production and sounds.




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.