Album Review: Into Orbit – Unearthing

Wellington two-piece Into Orbit have been making waves over the past few years. Since debuting Caverns in 2014, the two have played shows all around the country alongside other brilliant acts, slowly building up their profile as a musical force to be reckoned with.

Unearthing is their second album. We’ve had tastes of what to expect with first two singles “Gilgamesh” and “Dark Matter”, so have known what to expect.

Paul Stewart playing at San Fran. Image: Will Not Fade

The Into Orbit I’m used to plays crushingly heavy atmospheric music. The sound seems too full to come from just two players, but they pull off these textures by using dense layering.

I see them as post-rock’s answer to Cairo Knife Fight. Paul Stewart lays down layers upon layers of guitar sounds to achieve complex aural textures. It’s hard to believe that waves of ambient wash, extraterrestrial squeals, filthy crunchy chugging riffs, droning distorted passages and sections of exact picking all come from just one man. Ian Moir batters the drums half to death, using his deft skills to pummel the skins into submission. Into Orbit prove that they are greater than the sum of their parts, providing soundscapes I would never thought possible coming from just two players.

‘Dark Matter’ sets the mood for the album. The guitar is played percussively by lightly banging the strings before another layer of swells are added. Repetitive drums comes in. This continues for a few bars THEN BAM! chugging riff-tastic goodness! Part drone, part metal, bordering on djent. It’s what we’ve come for!

Lead single and album closer ‘Gilgamesh‘ follows similar suit, with other-worldly guitar tones setting an ominous vibe before Moir’s busy drums contribute to the act of summoning God-knows-what to the altar of doom. It’s slower than ‘Dark Matter’, but just as heavy.

I’m not doing the music justice with these descriptions. It’s not all doom and gloom. For example, ‘Equilibrium’ offers us a peek at the lighter end of the spectrum. It’s the sound of hope rather than impending oblivion. . .well for the first few minutes anyway. Title track ‘Unearthing’, (which was previewed on the Hemispheres compilation a few weeks ago) starts in a similar way, with more focus on treble than distortion.

Buuuut, the heavy songs are just more fun. Moir is a demon who really knows how to dominate those drums. Stewart can command control over the full spectrum of sound with his six strings and many pedals, but nothing beats a good ol’ moshable breakdown.

Something that surprised me about Unearthing was the variety of emotions explored. I guess that I was just expecting an album’s worth of crushing instrumental metal along the lines of the first two singles. I was mistaken. Yes, Unearthing will generously offer you head banging opportunities, but the duo will also lead you down other aural avenues that are just as interesting.

The hard work, constant playing and hard promotion appears to have paid off. Into Orbit have already made a name for themselves, and Unearthing will only help to cement the two of them as players to take note of.

Ian Moir on drums. Image: Will Not Fade

Unearthing Vinyl Pressing

Into Orbit are raising money to pay for a vinyl pressing of Unearthing. If you would like to help them do this you can visit their Pledgemusic page to preorder the record. There are other options as well, like buying tshirts, and artwork.

Album Release Show At San Fran

Into Orbit are playing their Unearthing release show this Friday at San Fran, with support from His Masters Voice. At only $11 (booked online), you’d be foolish to miss it!

Facebook event page: https://www.facebook.com/events/998743256935865/

Tickets: http://www.undertheradar.co.nz/ticket/6198/Into-Orbit—-Unearthing-Album-Relase.utr

Into Orbit Links:

Website: http://www.intoorbit.co.nz/

Bandcamp: https://intoorbit.bandcamp.com/

Facebook: https://www.facebook.com/intoorbit/

Twitter: https://twitter.com/intoorbit

Soundcloud: https://soundcloud.com/intoorbit

Pledgemusic: https://artists.pledgemusic.com/projects/intoorbit

Joseph James

Album Review: Klone – Unplugged (Live Acoustic Album)

Hailing from France, Klone are a prog rock band signed with Pelagic-records. They have released an acoustic album Unplugged, acting as a pseudo greatest-hits. Sourced from their previous two albums, the songs stripped bare and performed acoustically take on a new life. Throw in a fantastic Depeche Mode cover of “People are People” and you have a curious proposition.

The songs were recorded live at Théâtre de La Coupe d’Or, with two exceptions recorded in the studio. They offer an opportunity to hear musicians with nowhere to hide.

I’d not heard Klone before writing this review, now based on the singer’s voice alone I want to hear more. This is not the first time a rock artist has taken their music and stripped away the bells and whistles to leave the pure songwriting on display.

The first artist that springs to mind for me is Alice in Chains with their infamous Live on MTV album and video. It shows a band ravaged by drug abuse, yet still capable of incredible art. The songs usually associated with distorted guitars and walls of noise become more delicate and nuanced and take on a new life.

Wow. That cover of “People are People” is good.

The stock footage video that they’ve cobbled together fits well with the musical content. Depeche Mode seem to be a consistent thread amongst bands that I like. One of those hidden influences woven into sounds of music that has taken the next step down that sonic road. From In Flames covering “Everything Counts”; Mike Shinoda‘s (Linkin Park) excellent remix of “Enjoy the Silence”; A Perfect Circle‘s and now Klone‘s cover of “People are People”. Each version demonstrates what people take from the band and how they honour it in their own style. Those covers listed above are so vastly different, yet they all honour the same band. It’s brilliant.

If there is one thing I could criticise about this release, is the lack of backing vocals. As powerful and beautiful as the singer’s voice is – it’s hard not to imagine it being better with harmonies or other voices to play off. I’m not expecting The Beach Boys levels of vocal harmonies, but something to add another dimension to what is a very solid vocal performance.

The musicianship receives top marks, there is nothing that stands out as distracting from the song. Not having heard Klone in “Rock mode” I’m now curious how the songs will translate. No doubt for fans of the band they will have the same nerves about hearing their favourite tracks done acoustically.

Well worth a listen, it’s a great low-key soundtrack for a weekend.

Klone’s new album Unplugged is due out on Pelagic Records on February 17 2017

Links:
Official: http://www.klonosphere.com/klone
Facebook: http://www.facebook.com/kloneband
Soundcloud: http://www.soundcloud.com/kloneofficial
Label: http://www.pelagic-records.com

This review was originally posted by Murray Stace at his site Relative Silence

Will Not Fade’s Best of 2016

2016 in review

A lot of celebrities died in 2016. Lemmy, Prince, David Bowie, Leonard Cohen and George Michael all got a lot of attention for having passed away. It is sad, but all the people taking to social media to complain about 2016 signalling the apocalypse because of an election and some dead celebrities are idiots. 2016 was awesome. If those people had chosen to listen to good music and attend great concerts instead of bitching about life on Facebook then maybe they would realise this as well.

Like every other year, 2016 gave us some outstanding musical releases. We were also blessed enough to have many talented bands come to town as well.

CJ had a great year. His band Ranges released a new album and a 7″ single on vinyl, and by the sounds of it had a great time recording and touring. His company A Thousand Arms released a free post-rock compilation called Open Language, and signed a partnership deal as the USA distributor for Belgium based dunk!records as well.

My year was incredibly busy, having finished university and working full-time as a teacher. Thankfully I found the time to fit in the odd review here and there, and was even asked to contribute to an Arctic Drones write-up! I’ve made some great contacts this year, which leads me to think that I may have some exciting doors opened for me in the future.

And we welcomed Murray to the team this year. He already has his own site, Relative Silence, but we connected over a mutual love of many prog-rock and post-rock bands so he was more than happy to contribute to Will Not Fade.

Best Live Act

After much deliberation, I’ve decided that Iron Maiden are the best live act I’ve seen. The stage set up, the theatrics, the musicianship and the brilliant songs all proved why Maiden have sustained such longevity.

It was a great way to start a bogan weekend, followed by Black Sabbath the following night in Dunedin, and Shihad after lunch in Wellington on Sunday.

Other incredible acts that stood out this year include Sufjan Stevens, Thundercat, Tortoise, Strung Out, Into. It Over It. and local heroes Jakob and Into Orbit.

Best Night Out

My friends all thank me for making them come and see The Beards play Bodega during their farewell tour. They only have one joke, but the joke remains funny.

Steel Panther was another comedy rock act that put on a fun show, albeit far more crass.

Best Album

There have been some strong releases this year. My favourite band Biffy Clyro gave us album number seven, and Run The Jewels and Nine Inch Nails have even dropped new content in the past week.

But I cannot stop listening to the new Into It. Over It. album, Standards. Evan Weiss went to a remote cabin in the woods with drummer Josh Sparks and the two of them messed around with sounds and effects and somehow it turned into this masterpiece. I even flew to Melbourne to see Weiss play in October [review] and it filled me with such joy to meet him and see him play. It’s an easy choice for me, ranking Standards in top position this year.

Best Personal Discovery

Technically they are not 2016 releases, but Julien Baker’s Sprained Ankle and Winter Dust’s Thresholds were two absolutely stunning releases that I discovered this year. Both have been on high rotate ever since I first heard them.

I also discovered Australian prog-rock act Cog this year. I was raving about The Occupants when they released their début EP last year, so it stands to reason that the band that spawned them would also be incredible.

2017

And as for the year ahead? I’m super excited to see Alexisonfire and Living Colour playing in Auckland next year, and am working on plans to attend the inaugural dunk!USA post-rock festival in Vermont in October.

David Dallas previewed some new tracks when I saw him play at Victoria University during O-Week, and Solemn Sun dropped a new single “Bloom”, so I look forward to new albums from both acts. And of course the new Tool album is due… possibly… sometime in the next decade… maybe?

Thanks

It is hard finding the time to write and update this site, so big thanks to CJ and Murray for also contributing reviews and for both being a vital part of the Will Not Fade team.

Thanks to all the bands, labels and promoters who sent us music to review, arranged press passes to attend gigs or helped to set up interviews. It is humbling that people value my opinion enough to read what I have to say about music.

And thanks to you, the readers. Feel free to give me feedback about what you like, dislike, or would like to see more of.

Here’s to an even better 2017!

Joseph James

Album Review: Emeli Sandé – Long Live The Angels

Emeli Sandé – Long Live The Angels

I first became aware of Emeli Sandé when my younger sister sang her hit single “Next To Me” at my grandparent’s 50th wedding anniversary ceremony. I was taken by the power of it, so made it my business to seek out the original artist. Turns out that Sandé was a pretty big deal – beating chart records set by The Beatles and boosting the biggest selling record of 2012. Four years later, Sandé has released her follow up album, Long Live The Angels.

Long Live The Angels is explores Sandé’s identity. Her half-Zambian, half-Scottish heritage, her failed marriage and strained relationships, her aspirations and desires realised since she dropped her medical studies to pursue a music career. Here is someone who reached such great heights with her début album, but lost herself in the process. Long Live The Angels is the story of a powerful singer desperately climbing back up to her former throne.

“Selah” starts the album with a powerful tone. Sandé shows off her gorgeous voice by reducing the instrumentation to a minimum, and instead using the service of a goosebump-inducing choir to add ambiance to her poetic singing. The gospel overtones continue with the uplifting first single “Breathing Underwater” – a euphoric victory cry in ballad form.

I love the production on this album. Everything feels very deliberate. By reducing the amount of instruments in each song, Sandé has more space to let her voice take center stage. Take for example “Sweet Architect”. It’s just piano and vocals, with choral harmonies and organ used to add depth towards the end. But it makes an impact.

In “Happen” we feel Sandé’s despair and loss, until a guitar chimes in – almost squealing – and Sandé answers defiantly. “Hurts” adds urgency with a fast hand-clapped beat and brass section. Lovely acoustic guitar number “Give Me Something”, however, feels more simple, yet effective.

The album takes a sharp turn half way through, with a more contemporary pop approach. Jay Electronica lays down some rapping for a verse in “Garden”, and the next track “I’d Rather Not” features hip-hop drumming. The two songs don’t fit well within the context of the rest of the album. Compared to the more soulful other songs, these more urban tracks feels forced – with “Garden” in particular clearly manufactured with the intention of becoming a hit. Album closer “Babe” and a few of the bonus tracks come close to straying into this territory as well.

Not to let these urban intrusions derail the album, Sandé saves one of the best tracks for later – the feel good family affair “Tenderly” – a nod to her Zambian heritage. From here on in the mood feels lighter and more carefree. Using her voice to convey emotion and gravitas works, but injecting fun energy into tracks like “Highs and Lows” is simply more enjoyable.

Long Live The Angels feels emotionally raw, covering the entire spectrum from desperation to elation. Sandé uses the album as her phoenix fire, emerging from heartbreak and loss to rise stronger than before. The production is stunning, but not nearly as impressive as her voice.

Simple, effective, and emotional: Long Live The Angels is a defiant statement from a talented singer claiming back her stake in the music industry

Joseph James

Album Review: Shaman Elephant – Crystals

They say don’t judge a book by its cover, but just one look at the album art of Shaman Elephant’s Crystals should give you a fair indication of what kind of music you’ll find within.

The rollicking grooves in the title track had me head banging within the first few minutes of listening. Glorious, glorious riffing! Shaman Elephant are here to rock! Just listen to it. Outstanding. Vocalist Eirik Sejersted Vognstølen has a very 70’s throwback style of singing that reminds me of Wolfmother at times. Not that I’m calling Shaman Elephant clichéd, but it is fairly obvious where their influences lie. The keyboards are welcome – something that I don’t hear much of within the confines of my usual listening tastes – and the fuzzy guitars are brilliant – taking me back to the haze of seeing guitarists like Slash and Gary Clark Jr in concert.

“Shaman in the Woods” – centered around a busy riff that lasts the full bar – is very pretty, but bores compared to the more urgent “I.A.B”, which has a delightfully filthy bass tone, distorted guitars and wild singing. The song is saturated in effects that add vibrant texture. I want more of this driven Deep Purple feel!

“Tusco” is an instrumental track, sensitively based around introspective jazz playing on the keys. The song slowly gains momentum as guitar and drums cautiously enter the conversation and lightly dance around. Ironically, following track “The Jazz”, isn’t nearly as jazzy, but in fact feels very sludgy, bordering on doom-metal at times. Great tracks, both.

At 12.33 minutes, “Stoned Conceptions” wraps up this album stunningly. At times plodding along lazily, and then suddenly letting loose – full noise. It coaxes you into a lulled state before wailing into your faces with the fury of a hurricane.

Crystals is a sprawling, epic mess that comes together magically. Prog-rock is often convoluted by nature. In this case the psychedelic overtones add even more confusion to the mix. But what a glorious mix it is! Somehow, we have both extreme variety and cohesiveness all in one. If you want a great Woodstock-era throwback then make Shaman Elephant your next port of call.

Shaman Elephant links:

Pre-order: http://shop.karismarecords.no
Facebook: http://www.facebook.com/shamanelephant
Soundcloud: https://soundcloud.com/shaman-elephant
Label: http://www.karismarecords.no

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