Album Review: Man Mountain – Infinity Mirror

Man Mountain Infinity Mirror cover

Last year I spent two weeks on the road with Ranges, touring across America with them as they promoted their latest record, climaxing with the inaugural dunk!USA festival in Vermont. They teamed up with a few other acts along the way, playing multiple dates with: Tides of Man, Vexes, This Patch of Sky and Man Mountain.

I’ll forgive you if you weren’t familiar with Man Mountain before now. It is hard to maintain a presence with only four recorded songs out (The 2013 EP, To Call Each Thing By Its Right Name, and 2015 single “To Be Made As New’). I have a feeling that this début album, Infinity Mirror (Spartan Records) will change this, and earn Man Mountain deserved awareness within the scene.

Man Mountain David in Columbus

As I mentioned, I’ve spent a bit of time with the band. Man Mountain shared a four dates with Ranges on tour, and we all hung out over dunk!festival weekend, so I came to befriend them all. I remember standing outside a venue one night after the show, and Bryan shared with me about how Lowercase Noises influenced him to start playing ambient guitar music, which led to him joining the band. It’s a big effort because he needs to travel a long way to attend band practice, but is totally worth it because his friends in the band are awesome. And he totally has a point – they’re all genuine, down-to-earth guys who all share a love for the film Face/Off. Plus Mike has one of the greatest beards I’ve ever laid eyes on – who wouldn’t want to be in a band with a man that facially talented?

And their music is great too. Their playing casts a hypnotic spell. There are certainly a few videos floating around of me dancing along to the music, caught up in the immense magnitude of it all. It’s a shame that Man Mountain didn’t actually play dunk!fest, but they are more deserving of a slot on that festival than many of the bands who did play.

I love the DIY ethos that many American bands work by, the way that they create things for themselves. When Man Mountain played they would use flood lamps with foot switches to give visual oomph to the climactic passages of their music. It’s such a simple idea, and about as budget as it comes when you think of dynamic lighting rigs, but it packed such a punch. I can’t listen to their music without visualising that searing yellow beam.

Man Mountain Columbus

Something that stands out for me on this release is how well recorded it is. Mike Kalajian (Circa Survive, Prawn, Moving Mountains) mastered the album, and did an excellent job. By the sound of it, the recording process was somewhat experimental too, with the guys really taking their time to nail the sound. Things sound clear, crisp and articulate. I wish I had a copy of their vinyl record to hear the album in its full glory, but tell you what, it still sounds darn good just through middle-of-the-road headphones.

Jacob Goins just kills it on the drums. I already share a bond with him over our mutual love for Into It. Over It., but after hearing his playing on this record my opinion of him has skyrocketed. He showcases so much finesse and technical ability with taste. He’s not a hard-hitter, nor does he demand your attention, but he plays damn well, albeit subtly. The open/close hi-hat in lead single “Memory Trace” makes me think of Black Sabbath’s “War Pigs” – hard to pull off so precisely. And the excellent polyrhythmic intro of “Elysian” could just as easily lead into a Karnivool song.

Unlike your traditional model of lead guitar playing intricate melodies and rhythm guitar just filling in the rest with chord progressions, Mike and Bryan take turns playing dominantly. Like alternating sine waves, the two almost volley off each other. One will swell up as the other retreats, just for the opposite to happen soon after.

This music doesn’t attract many hyperboles. It’s middle of the spectrum – not especially fast, heavy, calm… But it is good. Nothing extreme – just done really well. Delicate and dynamic, with plenty to pay attention to.

Man Mountain’s music is reflective of the personalities within the band. At first unassuming and pleasant, and once you dig deeper you find quality gold inside. Understated, remarkable, and brilliantly crafted and recorded, Man Mountain’s début album Infinity Mirror is worth paying attention to. Listen with headphones on for the full immersive experience.

Man Mountain Mike in Ypsilanti

Infinity Mirror releases March 16th on Spartan Records. The 300 vinyl pressings have already sold out, but the record is still available on CD or digital download.

Man Mountain have also remastered their two previous releases, available for “Name Your Own Price” via Spartan Records or their Bandcamp page.

Man Mountain are

Mike Reaume – Guitar
Bryan Cowles – Guitar
David Reaume – Bass
Jacob Goins – Drums

Man Mountain Ypsilanti

Man Mountain links:

Spartan Records pre-order:



Twitter: https://




Review by Joseph James.

Photos taken by Joseph in Ypsilanti and Columbus in September 2017

Album Review: Those Who Dream By Day – Glad To Be…

Those Who Dream By Day And We're Glad To Be... cover

Hailing from Warsaw, Poland, Those Who Dream By Day have just released Glad To Be…. Following on from their début EP last year, the quartet have created an album of infectious music full of life and energy. Drawing from post-rock, indie and math-rock influences, the lively blend feels vivacious and upbeat.

Glad To Be… is a concept album, the concept being about the emotions associated with the friendships within the band. And it could be argued that every post-rock release is a concept album about emotions, and that most bands write about their own experiences – which include being in a band – but when I listen to these songs it makes sense. 

Lead single “53°58’N 20°82’E (BIPOLAR PARADISE)” [what a mouthful!] is the only track to feature singing (although one other features samples). Tranquil clinking sounds on a karimba [thumb piano] cast a calming spell, snare rolls bring momentum, and the rest of the band adds ambience.

By contrast, the following track, “You”, commences a true banger of a drum beat – thing Alexisonfire‘s “This Could Be Anywhere In the World” – before launching into a rockier track.

I don’t want to risk pigeonholing this album by describing it too much. I’ll put it this way: it features everything I want from a post-rock release. Heavy moments that make me cry out with joy while sporting a wide grin. Tender, heartfelt passages rich in emotion. Interesting instruments that sit outside of your standard guitar/bass/drums lineup. Great musicianship that invites you to raise the volume just so you can hear certain aspects more clearly.

This is not safe music. It is not boring or clichéd. This is stand-out stuff. These folk can play, and they let you know it.

I have no hesitation recommending Glad To Be… It’s solid release that meets all expectations. They have it on Bandcamp for name-your-price, but this is an album worth paying for. Those Who Dream By Day were voted as one of the best new acts of 2017 in an Arctic Drones readers poll. Give their latest record a listen and find out why.

Those Who Dream By Day

EP Review: The Amblers – The Dustling Man

The Amblers The Dustling Man

That first guitar lick will tell you everything you need to know about The Amblers, a blues rock duo hailing from Johannesburg.

It’s a lazy, crunchy riff, freshly graduated from the school of Angus Young. But there’s something more to it too, like if AC/DC grew up in the American South.

The blues rock influences are evident too – you have your Rolling Stones, White Stripes, and Royal Blood. Dirty blues rock, y’know? These all tie in to give that dangerous edge. Sure, the riffs and beats follow a formula of sorts, but there are unpredictable elements that only emerge for a bar here or there. If you listen closely you can also hear some nice clean playing underneath the layers of distortion. These parts are heard to pick out, but would certainly be welcome more prominently in the mix.

Fuzzy and raw, the opening track reeks of cool. Resplendent with laid back riffs, rocking solos, sloshy drum cymbals – these guys know what’s up.

The title track is the one to get your toe tapping. Similar to the first song, with a faster riff, and more of a four of the floor stomping feel than the stop start vibe of the first track.

The song “Tired”, on the other hand, is slower and balladesque. The distinctive guitar remains, but organ is dominant during this track. Organ with so much vibrato I picture the underwater scene from Pinnochio. You know when cartoons speak underwater and their voice ripples and undulates as they talk? Another neat addition is crisp piano notes playing on the beat, clinking to accent where you’d sometime expect the drummer to play the bell of the ride cymbal, or a cowbell.

Drummer Jason Hinch shows off most of his chops during the last track, “Keep Me Screamin’”. The verses follow the vocal line – guitar line alternating delivery of Sometimes. The cleaner guitar tone feels welcome after three tracks of intense fuzz, but still retains the same energy. 

For a duo, these guys sure pack a punch. Intimate listening reveals layer upon layer of subtle details that drown under the intense distortion. In fact, I can’t figure out how they would possibly pull these songs off live. Fuzzy, filthy and fleshed out, The Amblers will have you rocking out more than you’d expect possible from just two guys. They’re currently in the studio working on a new album, and that is something that excites me very much.

The Amblers

The Amblers links:






Joseph James

Album Review: Floating In Space – Dreamland

Floating In Space Dreamland cover

Floating In Space sets sail upon the solar winds with the new release Dreamland.

Carl Sagan’s Pale Blue Dot is a significant picture.  Taken by the Voyager 1 from a record distance of 3.7 billion miles, it shows Earth as nothing more than a tiny speck in an endless blanket of space.  It puts things into perspective.  Earth is such a microscopic part of the greater expanse.  I understand man’s obsession with discovering what’s out there, but sometimes we miss the forest for the trees. There’s plenty of wonder and beauty right here on Earth.  Perhaps we should cast our eyes more inward?

I often ponder the beauty that is the impossibility of me.  Around 14 billion years ago there was nothing.  Imagine that.  Nothing.  How do you even wrap your head around nothingness?  We’re virtually incapable of truly understanding such a terrifying thought.  Then, inexplicably, there was something.  Depending upon your belief structure an event occurred and the Universe was birthed.  At least in reductive terms.  What exactly triggered this “big bang” has been the question hounding our existence since time memorial.  In all honesty, I don’t even think this question is relevant.  What’s relevant is that after the first second of this “bang” the size of the universe was expanding at such a rate that even the math can’t fully do it justice.

Fast forward 14 billion years and you have us.  From all the chaos and violence this planet has seen from its planetesimal stage up until now you get, impossibly, you and I.  This almost feels laughable.  After the first second of creation had things been off or different by even the most minuscule amount, none of this would be.  You’re a blessing…an absurd, inconceivable blessing.

Ruben Cabellero/ Floating In Space

Credit: Yera Espinosa

The earth heaved and groaned for millennia.  At some point in time during all the anarchy of creation events began transpiring that would eventually lead to the birth of a single thread.  This thread would whirl, loop and flutter through the winds of time and stop somewhere in Spain.  The story of the songwriter and multi-instrumentalist behind Floating In Space, Ruben Caballero, began 14 billion years ago.  He’s another infeasible creation of an event too far back for any of us to really, fully discern.  The odds that you even share a space in time with him are astronomically beyond your scope of understanding.  But space and time have a different story to tell.  Here you are.  And here is Floating In Space.  You both share the same blink of an eye in time.  Let us rejoice at the absurdity that bites at the edges of possibility.

On the 2016 debut “The Edge of the Light”, we were introduced to just a small portion of what Floating In Space was capable of.  It was a superbly tranquil journey through Caballero’s experiences and feelings as he viewed his life as if they were but mere sequences in a larger movie.  “The Edge of the Light” was to showcase the potential of the band.  The sophomore effort, “Dreamland”, is the realization of that potential.

“Dreamland” is a 12 song effort released by proverbial indie powerhouse Deep Elm and co-produced by its owner/founder John Szuch.  Floating In Space’s new release expands upon the piano driven cinematic motif.  Every song is brilliantly structured and realized.  There isn’t a track on the record you won’t find yourself humming along with after just a few listens.  “Dreamland” is a purpose driven record.  Every note has a purpose.  Every angelically choir-like vocal cadence is well measured.  I can’t help but feel that Floating In Space set out to create an album that deigns to set fire to every butterfly in our stomach.

What is it that you think we’re all searching for?  Even when it appears we have everything in life we could ever possibly dream of having, still we search.  We search to fill the voids.  Voids as far reaching and depth-less as space.  “Dreamland” is about letting go.  Stop searching.  You have everything you could ever hope to have in a million lifetimes right here in front of you.  This is an album about recognizing the beauty you see before you instead of tearing at the remaining threads of your soul to find what it is you think you’re looking for.

Floating In Space is a gifted artist.  A band not afraid of baring its soul.  You can hear love and inspiration come through in every flourish of the guitar and syncopated beat of the drum.  But the real beauty of “Dreamland” is that the band isn’t afraid of letting you in.  Of sharing that grey area between dreaming and fearing.  Between utter solitude and warm fellowship.  We tend to drive distance between ourselves and our fellow man.  Distances measured in time. “Dreamland” closes that gap and makes us believe that we’re going to be OK.  Floating In Space dares you to dream again, but asks that you appreciate what it is that you already have.

Fans of labelmates Lights&Motion , U137 and Inward Oceans will feel right at home with “Dreamland”.  It’s truly uplifting and enlightened songwriting.  Floating In Space fits in so beautifully with the Deep Elm musical aesthetic.  This is a relationship forged in the fires of the big bang.  “Dreamland” is, from the opening notes to the last, filled with so many astoundingly gorgeous frames of optimistic grace that your heart is fit to burst.

If you find yourself adrift searching aimlessly for that next fix to fill whatever void it is in your life that haunts you, an album like “Dreamland” could aid in reminding you what it is that makes all of this so damn worth it.  Mathematically speaking you shouldn’t even exist.

You’re a miracle.

Floating In Space Links

Watch Album Trailer:

Stream “Earth” on Spotify:

Stream Album Preview:

Pre-Order – Apple Music:

Pre-Order – Deep Elm:

Album Review: worriedaboutsatan – Shift

worriedaboutsatan Shift

I’ll admit, my music taste has changed substantially over the years. Although I am still a snob (as I think one should be, if they choose to run a music blog), my taste has widened with age. As a teenager I dismissed all electronic/programmed music. To me, the term “remixed” meant ruined, and electronica was just people pushing buttons on computers, instead of playing “real” instruments.

I still remember hearing the track that made me rethink this mindset: worriedaboutsatan’s “You’re In My Thoughts“. Crisp, glassy, moody, excruciatingly well produced – it’s my go to song when I want to test out a set of headphones. Listening to that song made an instant convert of me.

Thinking back, I held a very naïve perception. Electronica already played a part in the rock music I listened to: The Who’s “Baba O’Riley” wouldn’t exist without that sequencer, and Phil Collin’s classic drum fill in “In The Air Tonight” could not be as iconic without the drum machine build up. Distorted electric guitars and keyboards dominate most music I listen to, and those aren’t “real” sounds. The legendary Will Calhoun of Living Colour helped me reach this epiphany when discussing his use sequencers and modulators with me, saying how he wanted to take Jimi Hendrix’s approach of making an instrument sound alien, and apply that to his own instrument. I’m a drummer myself, and now I own an e-kit, for the sake of practicality. 

And then you take my love of post-rock.  65daysofstatic and Maybeshewill were two bands that introduced me to the genre. sleepmakeswaves are one of the greatest live acts within the scene. None of those acts would be who they are without the samples, the glitches, the electronica aspects of their sound.


Image: Sophie Green

Following on from 2006’s Blank Tape, worriedaboutsatan have written a 2 part album entitled Shift. Recorded in one take, in a semi-improvised setting, the results are a bleak, drone-heavy and atmospheric.

“Shift (Part 1)” takes its sweet time, with dense, swirling textures. A shaker-esque metronome adds momentum half way through, which is later helped by a beat with muted kick and two different echoing snare sounds that play on alternate bars. The larger of the two snares sounds like stormy waves crashing upon a rocky shore.

I find “Shift (Part 2)” more exciting. At first listen, I felt a sense of déjà vu, that I was listening to a video game soundtrack or watching an 80’s action thriller. Maybe something like Turbo Kid? Then it hit me. Of course! The elements are all there: ominous bass undertones, eerie atmospheric swelling, 80’s era synth… it’s a throwback to the Stranger Things theme! Now whether this is deliberate homage to the television show or not, I cannot un-hear the striking similarities. 

I’m out of my element trying to describe the music, but a 8 bit melody demands most of our attention while sinister bass lurks in the depths of the song. A murmured metronome plays all the while, sounding like deep-breathing – almost a robotic snore. The last three minutes die off, leaving a tide of ambiance.

It is a stretch calling this two-track release an album, but it stands alongside some great works such as Glacier’s latest, Jakob‘s Dominion, and RangesNight & Day, so I’ll permit it. I’m too young to say for sure, but I’m guessing that people who lived through the 80’s will lap this up – especially “Shift (Part 2)”.

Dense and evocative, Shift is a great addition to the worriedaboutsatan catalogue. “Shift (Part 2)” is especially grand and deserves your attention.

Bring on dunk!festival! I’m looking forward to hearing this live!

worriedaboutsatan links:








Joseph James


Album Review: Ranges – The Ascensionist

Ranges - The Ascensionist banner

I’ve long admired Ranges, the concept post-rock quartet hailing from Bozeman, Montana. I enjoy the thought-provoking concepts that they use to inspire each of their releases (read my reviews of “Night and Day” and The Gods Of The Copybook Headings for some examples). The packaging behind each release is also brilliant [one of the perks of owning a printing press as a side business]. Their last output was a cassette tape that included a cryptic puzzle in the packaging, which revealed the information regarding this latest release – should the listener possess the time and energy to crack it.

Alas, I did not spend the time cracking said puzzle, as it arrived in the post just prior to my leaving home to travel around the United States. However, another writer more intelligent and articulate than I (Aaron Edwards from Arctic Drones) solved it and shared what he found: the track listing and title to the latest Ranges release, The Ascensionist.

In recent years, members of the band have been busy growing the ever-expanding screen printing/merch/distro/record label/business that is A Thousand Arms. They’ve also released the aforementioned tape, Prelude, and their first vinyl 7″ record, And The People Cried Out For A King. On top of this, A Thousand Arms has compiled and released a number of free post-rock compilations (including Open Language and Hemispheres). Despite all this work filling their schedule, Ranges still managed to find the time to record a new record in time for the inaugural dunk!USA festival in Burlington, Vermont.

Ranges the Ascensionist second pressing

This is music for adventures. Grandiose, epic soundtracks for brave feats. The album title – The Acensionist – and the band name – Ranges – both allude to the mountainous region of Montana where the band lives – references to the environment that inspires the respective members of the band.

Suitably enough, the first time I listened to the album was during an adventure. I had just rented a car in Phoenix, Arizona, and was making my way north to Montana to meet up with the band. New Zealanders drive on the left hand side of the road, but I thought I’d got the hang of American driving when living in Maine a few months earlier. Turns out driving in the low built-up wilderness of Maine doesn’t equate to the hectic five lane roads of Arizona’s biggest city. I freaked out.

I swear the album played at least four times on repeat as I drove from Phoenix to Sedona. I was too terrified to take my eyes off the road to change music, and there aren’t many suitable spots to pull over on the freeway. So The Ascensionist soundtracked my adventure, accompanying my journey through the vast deserts and arid cacti-flecked landscapes.

I revisited The Ascensionist  now and again during my week-long drive north. Passing immense gorges in Colorado, finding fossils and cave paintings in Utah, cruising along smoky mountaintops in Wyoming, and winding through geothermal hotspots in Yellowstone National Park. Epic music for epic times.

I held off reviewing the record though. I try to give music a thorough listening to when I review it, which can “kill” the appeal of the music if I overdo it. I listened to it during that trip, sure, but didn’t pick it apart and analyse it.

On tour, I heard the same set night after night for two weeks. I’m not sick of those songs, but I’m glad I didn’t listen to them too much before the tour either. It was nice going in fresh and picking up the nuances in a live context.

This review may as well be redundant. The album has been out for a few months now, so anyone who was inclined to listen to it would have already formed their own opinion by now. And Ranges don’t need my review for promo purposes – they sold out of records within a week – both US and EU editions. In fact, their second pressings came on sale on Black Friday. But I still admire the work, and I regard the members of Ranges as close friends, so I feel I owe them my thoughts on paper.

When it comes to Ranges, the music is only a component of the overall package. Concept and delivery are also paramount.

Most Ranges albums are concept albums – revolving around a theme that inspired the music. This time around, in a weird meta move, their concept is about themselves. Slightly pretentious, but at the same time neat to see the depth that they delve into with their art. Each track references a previous release. So if you look at track nine, and some of their merch, you may get insight into their next album theme…

And of course, the packaging is something else. Guitarist CJ Blessum and Ranges art director Wilson Raska co-own A Thousand Arms, a merchandising company. So their t-shirts, album covers etc… are all a step above.

The deluxe edition of the record came in 2LP 180g gatefold vinyl – different variants for the US and EU markets. The band made recycled paper with which to create custom booklets containing liner notes. They screen printed album covers and slipmats.

They also collaborated with local brewing companies to come up with special release Ranges coffee and beer. And bass player Jared Gabriel handmade clay mugs to go with the coffee.


I’ve written so much already without even touching on the music.

Blustery winds greet us on the opening track, setting the scene. I can picture a lone adventure scaling a peak, buffeted by the winds, slowly trudging through the snow. Soft guitar and mellow bass set the mood, before a swift transition into “Seven Sisters” provides us with harder hitting content that demonstrates how to make an opening statement.

When Ranges play this live, they combine the first two tracks and use a spoken word sample of Howard Simon’s poem I Choose The Mountain. I can’t hear the song without the sample, which is a shame. I think that the delivery sets the mood so well, and adds so much. By the same logic, I feel that excluding the sample from the recording detracts from the potential impact. Not that you’d know if you had only heard the album version… The embedded video above gives you an idea of how it sounds live [and I feature briefly at the 10 second mark].

This is not an upbeat record. But I still feel good when I listen to it. Take the title track, for example. “The Ascensionist” sound sombre and slow. It meanders along, slowly gaining layers and complexity. But when the guitar lead kicks in a few minutes into it, and the drums get busy, and the energy jacks up… well, it’s just grand. Sad, perhaps, but with an underlying glimmer of hope. Liken it to the emotions of conquering a mountain – grueling and hard, but thoroughly rewarding.

“Called Not to a New Religion, but to Life” took me by surprise. Programmed drums! Mark the drummer uses a Roland trigger pad to set off the electronic patterns, before adding his own acoustic beats after a few bars. CJ (guitar) is an absolute wizard, and programmed a lighting rig to sequence in time with a click track, so I wonder if the new electronica element arose from his experimenting with stage lighting? I can see it paving the way for more “glitchy” material in the future, like sleepmakeswaves or 65daysofstatic.

One of the standout tracks for me is “Babylon The Great (Part I)”. I remember they played it in Wichita, which completely took me by surprise. It was at a tiny wee bar named Kirby’s that Jared (bass) used to work at when he was at college. For some reason the guys decided to change the set that night, and played this song. It was the first time I’d heard it live. “Guys!” I said, “that track with the thrash beat… why have you been holding out on me all tour? That song kills! You need more of that higher energy stuff!” There’s something primal about the drumming on this song, with Mark just dominating.

But “Seven Veils” is the album highlight. The busy guitar line that opens is far more interesting than moody swells, and Mark’s beat features small flourishes on the hi-hats that add that extra oomph. But Joey’s guitar melody is the high point of the album – the hook that worms its way into your ear and has you subconsciously humming days later.

Listening to this album unearths fond memories. Memories of laughing along with the guys in the van, of late nights packing down equipment, of sharing pizza and budweisers, of driving through a beautiful mist-shrouded autumnal New York state, of making lifelong friends. To me, The Ascensionist sounds like adventures and friendship. And I think that is exactly what the band was trying for.

The Ascensionist is Ranges’ best album to date. It builds upon, and improves each of their prior works. I cannot remove my personal attachment to the music, but in a way that is an affirmation of quality. Great music evokes emotion.

I’m super excited for the next album. Ranges have done well thus far, but I see them on the cusp of a change. CJ has done well to carry the band this far, and has laid a great template. Now time for Joey to add more of melodies lines, and Mark to let his hardcore roots shine through on drums.

Ranges dunk!USA 2017

Ranges links:


Website |
Spotify |
Apple Music |
Bandcamp |
Facebook |
Instagram |
Twitter |
Soundcloud |
YouTube |

Words and live photography by Joseph James

Album Review: Teller – Strive Recess Echo

Teller strive recess echo cover

I don’t especially like it when bands sneak by me like some silent stranger in the night.  There’s just so much instrumental rock out there these days that it’s easy to miss a few here and there.  I’d like to believe that I have my finger firmly placed upon the crescendoing pulse of post-rock.  How Teller got by me beggars belief.  To my credit they’ve only released one EP back in 2013, but this band hosts a member of Swedish post-rock band Ef (Emanuel Olsson) and was produced by Daniel Juline (also of EF).  “Hello Scotland” is one of my favorite tunes of all time.  This isn’t about Ef, though.  This is about Teller’s first full-length Strive Recess Echo.  An album seven years in the making.

Someone should really do a study on the effects that Scandinavia has on music.  There must be something in the water.  This is a part of the world that’s raised bands like Immanu El, Moonlit Sailor and Oh, Hiroshima.  Not to mention Lights & Motion, who this blog is very fond of.  I’m starting to believe I was born in the wrong part of the planet.  Sure, I get to brag about post-metal sojourner’s Minsk, Russian Circles and even Tortoise.  There’s just something about the sound that comes out of Scandinavia that just gets me.

Teller isn’t new to the game.  As I’ve stated before, they have a member from Ef and indie outfits The Gentle Act Incident and Shiloh.  Drifting through the band’s history I learned that Teller is actually an idea that’s been around for almost 15 years.  From what I can gather (whether this was intentional by the band or not) is that they’re more than a group of writers and thinkers.  They’re friends.  The act of communing as a group to write music was almost secondary to their desire to just be in the same room as one another.  To hang out.  To have fun.  I can really get behind this idea.  The band’s desire to just be with one another and write has translated very well musically speaking.


Let me get this out-of-the-way first and foremost as I feel it’s the big elephant in the room: you can hear Ef all over Strive Recess Echo.  This isn’t bad thing at all.  I almost welcome it.  But there’s a ton on this record that sets them apart.  Yes, this is another instrumental rock album, but one that houses some incredibly infectious melodies.

One of the first things that really struck me as I was listening to this record was the musicianship.  Teller are impossibly talented musicians and composers.  And the group of folks they brought in for strings and brass are well deserved of any praise.  I haven’t heard trumpets used this brilliantly since *shels. The horn sections nestle themselves perfectly among the driving guitars adding just the right amount of texture.  There were ofttimes while listening that the song would drop and I would get pumped for the horn sections that wailed away with violent abandon.  I’m not trying to take anything away from the guitar, bass and drums.  Teller have managed to write some insanely gorgeous parts where you find yourself swaying lazily only to be brought back to the real world as they hit a crescendo.  Your heart drops into your stomach.

You’ve been here before with other post-rock bands, but it just feels different.  Teller doesn’t stick around very long on any one phrase.  Just when you’ve fallen in love with one part, they switch it up and you find yourself traversing dark tunnels of eerie ambience.  There are even some ghostly vocal undulations peppered throughout. The use of strings are sparse but always seem to be put in the exact moment when you want to hear them.  Any one that’s a fan of pg. lost‘s early work will be right at home with Teller.  A word of warning: If you go into this record thinking it’s just another loud/quiet/loud post-rock band, you’re going to be left wanting.  Sure, they employ these ingredients with aplomb but Teller has a sound all their own.


Teller -Gustav Recording Drums

In my past reviews I’ve often stuck to a particular theme in my writing to try and convey what it is about the record that I do or do not like.  I’ve decided to forego all the poetic ramblings for a more straightforward approach.  That isn’t because Strive Recess Echo didn’t inspire me in any way.  It’s because I wouldn’t be able to do the album justice.  It’s been four years since Teller’s last release.  Whatever they did in that four years obviously worked.  They noted that during that brief hiatus they were trying to find out who they were musically.  Where they fit in.  Instead, I believe they carved out their own little niche.

As the genre ages it’s becoming more and more difficult to stand out.  Teller does just that.  I’m reviewing this album late.  Strive Recess Echo came out in November completely DIY.  Had I listened to this album while it was still 2017 I would have had no problem putting it in my list of best albums of the year.

Hey Teller, I know it’s only been a couple months since the release but can we have some new material already?


Teller Links:




Teller is:

Erik Banck – Guitar, Vocals & Art work
Torbjörn Henrysson – Guitar
Emanuel Olsson – Guitar, Vocals & sound engineer
Richard Svartz – Bass
Gustav Kronqvist – Drums

All recordings were done by Emanuel.  The album was mixed by Filip Leyman. Daniel Juline produced.