Album Review: pg.lost – Verses

PG Lost
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pg. lost – Versus (2016)

Entry point: Ikaros
Personal highlight: Versus

Adding a vocalist is something that every instrumental band I’ve been in has had suggested at one point or another. I’m sure someone at a live gig has come up to pg.lost and said “great sound, where’s your singer?” This music easily lends itself to having a powerful vocalist soar melodically over the top of what’s there. People would buy it. With the right singer, I certainly would.

That being said, it doesn’t have a vocalist – the music must stand on it’s own legs (Hint: it does).

Synthesizers and electronic drums play a large part in rounding out the sound of Versus. Without knowing any background of why pg.lost called this album Versus, it could have easily been a battle between synthesized electronic music and the old school analogue of rock music. Thankfully the two realms don’t put up a fight – the balance between them is perfect in my opinion.

Melding rock music with electronic music can feel tacky at times – particularly with heavier music – yet here it has been handled with mastery. Every note feels deliberate, like a Hitchcock movie – the pauses are there to enrich the inevitable payoff.

The post-rock staples of drones and reverb drenched guitars are used more sparingly, supported by electronic drum samples and synthesizers Versus doesn’t suffer from being different.

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Yes, the songs are long with the shortest being over 6 minutes but they don’t dwell. There are slower tunes on the album but enough is happening for them to feel like a breather from the energy of the rest of the album, rather than an anchor to weigh it down. When the album does slow down it gets heavier and more guttural. When it speeds up, the synthesizers and electronic drums drive it along.

Versus features enough variance that you’re unlikely to get bored, it takes time to build yet doesn’t drag. This album has depth that suits itself to many listens in it.

I’d not heard of pg.lost until I’d heard Versus and now I think I’ll be doing some digging through their back catalogue.

Well pleased, do recommend. It fits in the category of “would be ecstatic if I wrote it”.

Peace
– Murray


Versus is released on September 16th 2016 internationally.

This review was originally posted on Murray’s site Relative Silence 

 

EP Review: lawoftheland – Dancing Explosions

lawoftheland Dancing Explosions album art
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Liverpool post-rock trio lawoftheland reveal very little about themselves. Rather than boasting an extensive bio, lawoftheland prefer to let their music do the talking.

The beauty of post-rock and associated instrumental genres is that often the music can lend itself to many possible interpretations. Whether the song is written with a set theme or not, the listener can appropriate the song to provide a cinematic backdrop to anything they choose to think of.

And it would appear that lawoftheland agree with this sentiment, because they disclose no story about themselves or their music. Their eponymous first EP featured one song that sampled a track from Prince EA regarding climate change, so that song is the exception, but the band state that they want their music to remain open to interpretation, hence the mystery about their background.

A nice ideal sure, but how seriously can we take a band who isn’t even prepared to promote themselves?

Well, I must say that they are worth taking seriously. They have seven tracks committed to record: four from their eponymous EP released earlier this year, this single, “Dancing Explosions”, and the two b-sides released alongside it. And all seven songs are great.

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I receive a lot of music submissions for review, much more than I can realistically sort through, so I tend to be very harsh with my first impressions when I select which releases I want to cover. Dancing Explosions took my fancy immediately, as I skipped through the track to see if I thought it worthwhile. Upon closer listening, (along with the previous EP) I discovered just how worthwhile this music is.

lawoftheland songs are constantly building. They seem to go through a process of taking the typical 7+ minute post-rock song and cropping it to showcase only most exciting parts. This trimming of the excess makes the songs leaner, with more to pay attention to. And the subtle details are rewarding once you notice them.

Close listening to “Dancing Explosions” will reveal different movements within the track which expose lovely new elements, such as the thudding tribal drumming on the toms for the middle third, and the stunning bass tone that really stands out during the outro.

“Second Nature” and “Departure One” are listed as b-sides, with “Dancing Explosions” being the single. I don’t see how anything it changes anything classifying the release as a single with bonus tracks, rather than an EP. Maybe there are plans to release a 7 inch?

Adding touches of ambient chatter throughout Dancing Explosions could serve to either create an enticing new texture, or fall further into the background. But regardless of how you perceive it, I don’t think it will detract from the listening experience.

So interpret the music how you will. Attach it to a fantastical daydream and let yourself get swept away absently by the swirling guitar, rollicking bass and charging drums. Or pay more attention to uncover hidden layers of twanging strings, bowing chords and a drums that eb and flow.

Either way, give lawoftheland a shot, and like me, you may find yourself very pleased that you did.

Joseph James


lawoftheland links:

 

Album Review: Broods – Conscious

Broods Conscious
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Sibling pop duo Broods hail from my hometown of Nelson. I’ve seen them play once, opening for Ellie Goulding in Wellington. They showed promise at the time, but their sound seemed incomplete. Not bad, but just needing a bit more to boost their sound.

Broods rose of fame on the strength of their debut song “Bridges”, which seemingly garnered international attention overnight. When news broke that the pair had teamed up with Joel Little, the producer behind Lorde, it seemed inevitable that Broods would go far.

While the debut eponymous EP, and following album Evergreen were strong, the solemn and ethereal feel didn’t always grab the listeners attention. Conscious, by contrast, has some stronger tracks that get in your face.

Take, for example, lead single “Free”. Georgia draws us in with a strong acapella, before the industrial beat and the haunting wail solidify the song. It’s edgier and more anthemic than their previous material, signifying a stronger new sound for Broods.

Whether darker, punchier, or more upbeat, most of the songs on this album sound like a musical step up from previous works. “Are You Home” sounds reminiscent of Naked and Famous, with a very “Punching In A Dream” sounding intro, and an overall feel that would sit well on a pulsating dancefloor. Likewise, “We Have Everything”, “Full Blown Love” and “Hold The Line” are infectious and fun.

There are some big players of the pop world adding their touches to the album. “Heartlines” will draw the inevitable Lorde comparisons, seeing as Yelich-O’Connor herself helped to co-write this track. It features one of the more memorable choruses of the album, although with all the radio play it receives, of course it’s more likely to remain in your head. Tove Lo also makes an appearance in “Freak Of Nature”, a tender ballad more reminiscent of the older Broods sound.

As Broods have blown up, they have needed to step up their game to justify their popularity. Conscious ushers in a fuller sound, with multiple layers of production really fleshing out mix to make for a more gratifying listen. Gone is the bare synth/vocals combo, with the industrial style drumming and gorgeous multi-level sung harmonies making a welcome impact. The closing title track showcases this best, with Kanye-esque synths, and a chanting choir making the song sound immense.

This second Broods album is bigger, bolder, more deliberate sounding, and more, well… Conscious.

Joseph James