Album Review: Desbot – Pass of Change

I met Maurice Beckett last year after his band Jakob played their incredible album Solace live at The Tuning Fork in Auckland. I sheepishly admitted that I was the one who had once referred to him as a “hairy behemoth” in a review. Beckett just laughed. He was great to chat to, super laid back and didn’t take things too seriously.

Regular Will Not Fade readers should need no introduction to Jakob, the mighty post-rock trio from Hawkes Bay. Desbot is another post-rock trio with Beckett on bass, but despite sharing these similarities, they are very much a different beast.

Desbot released their debut album Pass of Change back in October, and I’ve been thrashing it the entire time.

Something I love about Desbot’s music is the feeling of momentum that each song exudes. The drums [play by Tom Pierard] are often driving, especially with open hi-hats, bright crashes and harsh china cymbals – big explosive, washy sounds. And the bass – often the star – is usually pulsing, throbbing, compelling us to nod our heads and tap our feet – to feel the music and the hypnotic energy it radiates. One of the best examples of this is the breakdown in “Eclipsed” – crushingly heavy as the band pummels us with dense slabs of sound that they conjure up.

Rounding out the trio is Nick Blow on keys. Most rock music is centred around guitar riffing, so the omission of guitar is enough to make this mix unique. The keys here are more ephemeral, often just colouring the feel and creating the mood with sci-fi swells and interesting effects. It’s a great move, being able to draw on countless crazy synthetic sounds that keyboard soundbanks can offer.

It’s an interesting dynamic: the rhythm section locking in tight to push the music, with keys plucking flavouring from the stratosphere to make it all interesting. And while the structure can feel linear and a bit simple, it is never boring. The music is often incredibly heavy and distorted, yet somehow feels hopeful and not oppressive.

The band explores texture and tonality, playing with space and sounds to bring a fresh, otherworldly feel to a lot of the songs on the album. They use so many interesting effects and inorganic timbres that it borders on industrial at times, with odd mechanical screeches and whirrs that make me envision a robotic production line, or even a futuristic spacecraft. Listen to the fantastic reverberating drumming in “No Response or Benefit”, or the warning siren sound that phases out slowly during the outro of “Pass of Change”.

It’s possible that this experimental feel arises from their writing process. Drummer Pierard shares that the trio all wrote and demoed ideas at home individually during lockdown periods – which pushed them to be more creative – and delays caused by the pandemic forced them to slow down and really take the time to craft and hone these songs and add more depth to the music..

In short, Pass of Change is great. A solid album that I happily keep returning to. I’m really hoping that they come to Wellington at some point this coming year because I bet their music sounds absolutely monstrous played live through a decent speaker system.

Desbot links: https://linktr.ee/Desbot

Album Review: Planet Hunter – Moscovium

Another special one today whanau, far out I got an advance copy of the new Planet Hunter album that I’ve been spinning this week. I’m not too sure how many shows around the country Planet Hunter has done, so if anyone from outside of Wellington is reading this and doesn’t recognize the name, man give this fucking thing a spin and get woke to one of Wellington’s sickest bands.

Which Dragon Ball Super arc exactly was the Planet Hunter in?

Does this mean we won’t get an Aethea reunion?

What happens when stoner rock bands sound like they don’t smoke weed?

Let’s find out together

Image: Garry Thomas Photos

Planet Hunter – Moscovium

Planet Hunter is a complete anomaly man, they exist in this super weird space where they’re stoner enough for all the people who’ve never worn hemmed pants in their life to lose their fucking mind over them, but also calling them a stoner rock band actually kinda negates all the super cool shit they do. They’re like the guy at the show who gets way too drunk and annoying, does a few snortskies and turns into a maniac, so someone gives him a spliff just to not have the same fucking conversation AGAIN then post-spliff he’s actually really interesting and has dope riffs. That’s Planet Hunter.

I first got turned onto Planet Hunter because homie Chris Roberts, who most of you probably know by his stage name of “Dreaded guy who got murdered on Glassblower’s music video for Gatekeeper”, text me at like 2am and said they were basically the best band he’d ever seen and I have to see them. So obviously I didn’t go see them for like another 6 months, but man I can’t even explain how much I fell in love with this band when I finally saw them.

Planet Hunter is made up of William Saunders on guitars, Cormac Ferris on vocals Jed Van Ewijk on bass and David McGurk on the drums. God damn that’s a strong line-up, Will is the kind of guitarist that you know will always have the best tone of any show he’s on, but you have to avoid him after the set because you know he’s going to want to talk about his pedalboard. Jed is a monster bassist, I always remember when I first moved to Wellington he was playing in Aethea and even though they had the sickest live DM live show (Fuck Pixelated Stripper and Ringbinder were bangers) around at the time, they used to cover the Alex Kidd theme song too and everyone would always lose their mind so much harder at that, I love thinking about him still being punished about that 15 years later OH MAN YOU’RE THAT GUY ALEX THE KIDD RULES I LOVE SEGA MASTERDRIVE. I don’t actually know David well, so I really don’t wanna rag on him just in case he’s a pre-workout kind of guy and smashes my head in, but he’s a wicked drummer. Planet Hunter are also super brave because they’re the first band ever to my knowledge to have an actual art installation on vocals. Mark my words in 30 years people won’t be speaking about Marina Abramović without the mention of Cormac Ferris from Planet Hunter.

Image: Will Not Fade

Alright let’s talk about this album man, it’s a doozy.

Like everyone else in New Zealand, I also had to google the word Moscovium, because fucking hell, what? Turns out it’s a highly radioactive metal that only a few atoms have ever been made. Also turns out it has no biological purpose, just like Will’s dating life, I guess that’s why they named it that? Fuck yea concept album.

Generally, I like bands that are pretty fucking miserable, I fucking love the kind of band you have to google their political views before you buy their merch just in case, you know? Ugh, then having some punisher tell me I should separate the art and the artist like their opinion matters in the slightest while they’re probably quoting fucking Fight Club at me. But man, Planet Hunter isn’t that – There were several points during the album that I actually felt like it was trying to fix me. Bad news Planet Hunter, you fucking didn’t okay, and I resent you for trying. It’s got this really uplifting energy without ever being happy or annoying. Like crushing a zopiclone and going to Timezone instead of smoking weed and sitting in a tree like every stoner band wants you to do.

Man, Planet Hunter exist in such an interesting space, they don’t quite fit any specific genre tag without feeling like you’re doing them a disservice. The only way I can explain it is you know how all the metal and hardcore kids in their thirties had their music tastes all fucked up by the Tony Hawk 2 soundtrack? Planet Hunter are the kids who grew up on Syphon Filter. Syphon Filter ruled man, but don’t play it now because it sucks ass, I know you think it’s probably aged okay and after hearing me say this you’re gonna download it, but fight that man, it sucks now, you strafe with the left and right bumpers for fucks sake. God, it sucks so hard now. Not Planet Hunter though, they’re alright.

The album starts off so hardout strong with Humans of the Wild that wouldn’t feel out of place on any Melvins album when they had Big Business as a rhythm section, which is also their best era don’t even try tell me their new stuff is still good, they’re like a Melvins parody tribute band at this point.

Cormac’s performance on Moscovium is really fucking great man, every time I hear him sing I can’t help but think of an awkward interaction I had with him after the second or third time I saw Planet Hunter. I was drunk as and doing something else I won’t post just in case I ever want to apply for a job again, I went up to him after a set and gave him what I thought was a bangin’ compliment. I told him that I fucking loved his vocals so much because they’re clearly inspired by Maynard James Keenan but they’re not annoying as fuck and trying to sell me shit wine. I think that’s something Planet Hunter does really well, you can hear that they wear their influences on their sleeves, but it never just sounds like that band. Like you can hear Alice in Chains, but it’s not whiney and 47 years old. You can hear Tool but it’s not exhausting. There are hints of the more intense stoner rock bands like Red Fang and Sasquatch but the influences never overstay their welcome.

Also don’t fucking @ me for the Tool jab, I have no opinion on Tool and I can’t be fucked talking to you about them. You’re just mad your favourite band hasn’t had a good album since 2001.

The Ocean is a big standout on the album for me, starting with what people would assume is a synth but I fucking KNOW Will used a bit-crusher on his guitar to get that sound to save money. TELL ME I’M WRONG WILL. By the time the bridge hits this shit becomes oppressive, in the best way possible. The bridge is absolutely crushing and I could listen to that riff all day, in fact someone make me one of those 10 hour supercut Youtube videos of just this riff. Name it ‘Planet Hunter Fappening Leak’ so only the true fans will find it.

I’m a massive fan of Will’s guitar playing on Moscovium, his tone is as flawless as his life choices are flawed. He always seems to be playing exactly what the song needs in the moment instead of appealing to his ego and putting flashy shit all over it, but when he needs to be flashy he’s right there with a texture or a lead that becomes the centre of the track. Don’t even get me started on the chorus riff of Droning, it’s shit like this that helps differentiate Planet Hunter from any other band in the perceived genre.

Jed has been such a mainstay in the Wellington scene that you can guarantee if he’s playing on an album the performance will be tight as fuck, and his bass performance here is fucking awesome. His tone is never overwhelming but always present. The way him and David are in sync is perfect and best represented in a song like Valley and I fucking love that David doesn’t fall into the ‘what would a stoner band do’ groove, his performance is unpredictable and can go from classic stoner vibes like in Dying Since Birth to frantic psychedelic passages almost reminiscent of Earthless in songs like Droning.

I’m still getting used to reviewing albums I don’t fucking despise, so please bear with me while I find my voice with this style, and this isn’t some toxic shit about not being able to say nice things to people, I tell my friends I love them all the time, fuck I’ll kiss all of you on the lips right now DM me for my address don’t even fuckin’ try me. But I tell you what, being nice about an album is fucking hard work.

Is this album going to be for everyone who reads this? Fuck no, I know how broken most of you are. But man, I can’t stress this enough – Give this album a spin, even if you’re a beatdown lizard death metal gatekeeper hating on Stranger Things kids. There’s SO much here to love, so many genres being represented in a cohesive way and there’s layers to this album that every time I listen to it, I find more stuff that I love. Songs like The Ocean have the heaviness that make you want to close the curtains and reassess things, the songs like Humans of the Wild and Droning are pure party energy to impress your friends with, and we all know you’re struggling to impress your friends with your shit Soundcloud bedroom recordings.

Rating – 420 but also had 9 beers out of 5

Favourite track – The Ocean

Image: Jechtography

Planet Hunter links:

Website: https://planethunter.band/

Bandcamp: https://planethunterband.bandcamp.com/album/moscovium-2

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

Instagram: https://www.instagram.com/planethunterofficial/

YouTube: https://www.youtube.com/channel/UCksbRLjYdRcJoZfvVe_ZmWQ

Spotify: https://open.spotify.com/artist/6sHcF97f2g7t2epZ12Cojx

Apple music: https://music.apple.com/us/artist/planet-hunter/1426742266

Reviewed by Craig Leahy of Glassblower and Opium Eater

Glassblower: https://glassblower.bandcamp.com/

Opium Eater: https://opiumeater.bandcamp.com/album/ennui

EP Review: Reliqa – I Don’t Know What I Am

I discovered Reliqa a few months ago. I was looking up the acts I didn’t know ahead of attending Monolith Festival in Melbourne, which featured some of the best prog and post-rock bands that Australia had to offer. Reliqa was new to me, but I was floored straight away. Energetic, innovative alt-prog with an incredible singer. It’s by no means their heaviest, but the song “Earthbound“, was a fast favourite, full of moody gravitas.

Reliqa have been on high rotate ever since. I just can’t get enough. They’re only young – all being in their early 20’s – but their songwriting and playing abilities are truly outstanding. It’s a bit of a given – seeing that they are a prog band – but their ability to draw from a variety of genres and experiment with sounds and styles makes their music exciting and enticing. And just as I’d hoped, Reliqa killed it when I saw them play live. A good portion of their set was yet-unreleased material from this EP, and even though nobody knew those songs, it still garnered a great reaction from the audience.

I Don’t Know What I Am, kicks straight into it on the eponymous opening track. Vocalist Monique Pym’s delivery is direct and aggressive, backed by distorted guitar. This juxtaposes abruptly against a floating ethereal passage before launching into another rocky section. The crazy glitchy breakdown in the middle is one of the stand out moments on this EP. An effect kicks in, causing Pym’s vocals to stutter, falling away for the solo. I’m not sure which instrument is responsible but it sounds like a drum solo on synthetic boomwhackers, leading into a ripping guitar lead. The sheer weirdness of the tones and timbres make my ears prick up and notice. What is that sound? How did they pull that off? The guitar playing is reminiscent of their Monolith festival co-players Plini – extremely technical sounding, heavy and metallic, yet still very articulate and accessible.

“The Bearer of Bad News” takes us to exotic lands before crashing back to reality with frenzied riffing and playing. Pym alternates between singing and rapping, showing some diverse ability with her power voice. One moment her singing soars high, the next she’s whispering with menace. You know how System of a Down sometimes use scales that aren’t often found in traditional Western music? I have a feeling that Reliqa may be doing something along those lines to give sections of this song an different flavour. Listening to some of those guitar lines makes me conjure images of snake charmers.

“Safety” was an obvious choice as a single. For one, it features Make Them Suffer vocalist Sean Harmanis. Reliqa have been touring with and opening for an impressive selection of bands – a who’s who of premiere Australian alternative acts – so it’s cool to see them making the most of some of the contacts they’ve made by getting Harmanis to guest on this track. It’s also a heavy track, and the chorus is a real ear worm. Good luck getting it out of your head after a few listens.

“Second Nature” is the ballad of the EP, in the sense that it’s slow and powerful. It commences with serene guitar picking and spacious halftime drumming, revving up for the the chorus and a breakdown. Doublekick drumming fills the beat, giving the song some oomph. Throughout the song we feel an elastic tension with the tempo, pulling and pushing as the energy comes in waves. A soft cut out preludes a big build up, with lots of layered harmonies that create an anthemic final chorus and a juicy riff-laden outro. This powerhouse track shows Reliqa as masters of dynamic songwriting.

Brandon Lloyd

“.blip” is an interlude, an instrumental track that gives the Miles and Benjamin Knox a chance to show off how in sync the rhythm section is. They lock in, tight drums and warm running basslines, while guitar helps to flesh it out tastefully. This leads into “The Ritualist”, which also has a tight djent feel, with dense stop/start chugging..

True to its name, I Don’t Know What I Am EP is all over the show, never staying true to a set style or sound. But this eclectic dynamism is what I find so alluring. This music demands your attention, showcasing the immense talents of the four musicians responsible. Monique Pym’s singing is the true star of the show (and will earn Reliqa inevitable comparisons to Spiritbox), but the other three players are also incredible. Despite the technical nature of the music, I don’t consider it challenging or pretentious. Perhaps it’s because they explore a whole array of concepts within each song, but condense them into a standard length, unlike many other prog bands who are known for writing long songs. This keeps it sounding fresh, at any rate. It’s just great music, played by musicians who are talented beyond their years.

I Don’t Know What I Am drops on Friday 16 September 2022

Reliqa is:

Monique Pym – Vocals

Brandon Lloyd – Guitars

Miles Knox – Bass

Benjamin Knox – Drums

Miles Knox

Reliqa linktree:

https://linktr.ee/reliqaband?fbclid=IwAR1CBi3ZcIQh7JixtVTShsBDi4bqBz4SX7LBwhMLMMKFWVzRr8NPNne7v8M

Review and photos by Joseph James

EP artwork by Eben Ejdne

EP Review: Adoneye – Sessions

Adoneye are one of the best bands in Wellington. Certainly one of my favourites, at any rate. I proclaimed my excitement for this forthcoming release in my end of year reviews for both 2020 and 2021, and it’s finally here: a five track EP called Sessions.

Like almost every amazing band, Adoneye are greater than the sum of their parts. I know drummer Jignesh Jasmat from local prog-rock band Ovus, so clearly he has some great chops. He’s that guy that has twice as many cymbals as I do on his drum set-up, along with the skills to actually make use of them. I actually used to work with bassist Jesse Hill, and have been to countless jams at his house. He played in Opium Eater, which are hard to describe (I’m going to go with avant-garde prog-metal), but he’s an absolutely outstanding musician with the capability to play any genre. And then you’ve got Dean on guitar, that weird skinny stoner guy you see at parties who blows you away when he starts playing guitar. Dean is a phenomenal songwriter, and you can see the passion when he starts to sing.

Adoneye onstage. Image: Supplied

One reason I love Adoneye so much is because they straddle a variety of styles that I love, and pull it off with such talent. Take opening track “Beautiful Aliens”, for example. It’s bookended with beautiful, tender fingerpicking. Dean coos into the mic and Jesse’s vocal harmonies add just the right boost. It’s sweet and serene, but segues into a grungy anthem. Dean is borderline shouting, and the fingerpicking has switched to hard strumming. And before you know it, we’re back to the calm as is nothing ever happened. Such brilliant dynamics!

Jig is a monster on the drums. It’s borderline criminal how well he pulls off some of his fills and flourishes. Tumbling down the toms, adding a choked accent on a splash here and there, it adds such flavour, but sounds so subtle and feels effortless.

Jignesh with Adoneye at Newtown Festival

Jignesh Jasmat with Adoneye at Newtown Festival 2022. Image: Will Not Fade (Originally taken for The Mousai)

“I Eat Foxes” is the song that always sticks in my head the most, not least because of its interesting title. There’s this little repeating pause they’ve written into the bridge that lasts for slightly longer than feels comfortable. Just to throw you. Or to add an extra challenge. It reminds me of the crazy intro to “Living is a problem…” from Biffy Clyro’s Puzzle – almost written just to show off how tight they can be as a band. This is music for musicians.

Also, the lyrics “I’m like a stone, you show me how to live” are definitely Audioslave references right?

I think one thing that gives Adoneye a point of difference is that they’re a rock band with an acoustic guitar. How many rock bands can you think of like that? I’m not talking about switching it up for a token ballad. This contributes to the homely feel of the music. Even if Dean is screaming (as he does when he gets into it), Adoneye’s music just feels nice.

The mix and levels are great. We hear Jesse’s fingers travelling up and down the fretboard with basslines only a freak like him could pull off so casually. We hear Jig’s wee flourishes and snare rolls. We hear Dean plucking each string. But it’s all balanced, and none of the elements overpower the others.

Sessions is an outstanding debut offering, one that the members of Adoneye should be proud of. It showcases their fantastic skills as songwriters and musicians. And it just feels great. It’s chill, it’s driven, it has a comforting warmth that hits the spot for me every single time. Highly recommended.

Jesse Hill on bass. Image: Will Not Fade

Adoneye links:

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

Spotify: https://open.spotify.com/album/6A4iO9CBPB567Oswy19Epv?si=I5RFkG29Soicb1GkklTG7Q

Written by Joseph James

Album Review: Ranges – Cardinal Winds

Regular Will Not Fade readers should need no introduction to Ranges. I’ve been covering music from the Montana post-rockers since they released “Night & Day” in 2015. I also joined them on tour across America for their 2017 tour in support of their breakthrough album The Ascensionist, and again when they went on tour in Europe and played dunk!festival the following year. CJ (guitar) and Wilson (art direction) also co-own A Thousand Arms, the screen-printing company come distro/record label responsible for the awesome Open Language and Hemispheres post-rock compilations that come out every year.

Most Ranges releases have an underlying concept. “Night & Day” was a 24 minute song that mirrored the 24 hour day. Gods of the Copybook Headings was inspired by the Rudyard Kipling poem of the same name. I’ve always liked how their music had extra elements that you could chose to delve into and find deeper meaning in.

CJ playing guitar for Ranges in Lyon

The albums often have amazing physical elements as well, especially with the two most recent albums, The Ascensionist and Babel. Handmade booklets for liner notes on recycled paper; ceramic mugs and shot glasses; screen printed b-side records, wall banners, t-shirts, guitar pedals, cassette tapes with riddles and maps, black market currency… Seriously, the band made their own coins which could be redeemed in exchange for exclusive merch items that were only accessible on certain days discovered by decoding a calendar.

Loads of their releases and merch have cryptic hidden puzzles and codes and meanings that hint at upcoming releases or unlocking more secret b-sides. I know Aaron “Foofer” Edwards was the first to decipher on of the puzzles that came with a cassette tape the band released.

So it’s interesting how they’ve approached this record. It seems clear that something is coming. They’ve dropped a lot of singles in quick succession over the past month. But no clear news about what was coming. No album title, no pre-order. I guess they’ve always loved the air of mystique attached to their music, and now they’ve built up a big enough fanbase that they can really have fun keeping people speculating.

They’ve even kept me in the dark – and for all intensive purposes I’m an honorary band member. I’ve been able to listen to the album for a month or two, but they haven’t given me any hints. I guess I can review the music, but any true Ranges fan knows that the music is only one component of a release. I guess information about artwork and physical media will be revealed in good time…

L-R: Joey Caldwell (guitar), Wilson Raska (art direction), Jared Gabriel (bass), CJ Blessum (guitar, band dad). Front: Me (Joseph aka Baggins), Mark Levy (NYHC drum legend)

OK, here are some juicy details you’ve been after. You’ve actually heard most of the songs if you’ve been keeping up with their recent releases. There’s the four tracks we’ve already heard; four interlude tracks named after the directional points of the compass; and the title track: “Cardinal Winds”

CJ was responsible for a lot of recording and mixing duties in the past because he ran a studio, The Low Country. For Babel they chose to give CJ a break so he could focus on songwriting, rather than worrying about taking on too much responsibility. They drove down to Texas and recorded with Chris Commons, an experience that they all enjoyed. But the a global pandemic made it harder just to get out of the house, let alone out of the state, so Ranges went back to self-recording.

This album also saw Ranges reduced to a trio of musicians. Jared Gabriel was the the bass player in Ranges for quite a while, but he moved from Montana to Ohio last year to live with his fiancé, so doesn’t feature on this record. Hope you’re doing awesome Jared!

“Deluge” was the first track we heard, featuring on the recent Open Language compilation put out by A Thousand Arms. It’s a great song to create first impressions with, but actually features as the last track on the album. It starts out with a murky sound that makes me think of whale song, and a great bass tone that gives off Kerretta vibes. The guitar line is fantastic. You can always trust Joey to come up with a great melody and it’s what makes this song what it is. Mark plays some tasty rolling beats on the toms that sound thunderous but not overpowering. And CJ brings the swells and ambience. It’s a solid song but watch out: that melody will get so stuck in your head!

The actual album opener “Abyss” (debuted on Everything is Noise) comes in strong and intentional. We’re hit by a barrage of overdriven guitar. I remember CJ saying how he wants to incorporate more tremolo strumming into his playing during the writing of Babel, and I can picture him here rocking back and forward, hands a blur as they flutter over the guitar pickups. Mark is really laying into his cymbals too and you can feel the intensity of his hits.

This subsides somewhat to allow an opening for the melody line. Joey and CJ work well together, both playing just what they need to complement the other. There’s some lush beauty that the two work together to weave throughout the song, a very rewarding listen. “Abyss” is a strong statement as an opener and it works brilliantly.

We have four tracks that I’ll call the ‘compass’ tracks. They serve as interludes, giving breathing space and breaking up the album. They sound like samples of cassette tapes; of needles on record grooves; static on the radio; or of some forms of analogue media at the very least. It’s ethereal and we hear gales of wind howling through “North” atop a speaker crackling. It’ll be interesting to hear how the four ‘compass’ tracks sound on vinyl. Very meta, I assume.

Mark is one of my drum heroes. I have so much love for the guy. I even have a photo of him up on my bedroom wall. He gave me advice when I needed to buy a snare drum, and often recommends music to listen to. My old band just released an album that I drummed on and in all honestly, Mark’s thoughts are the main thing I care about. If Mark approves of my playing then that’s all I need. Mark has a custom drum company named Duradero and if he ever makes me a snare drum I will die a happy man.

Mark had been accused of ‘playing it safe’ in the past, and he openly confesses that it was true. But it’s not true on this album. His playing is just what the music needs. It’s driving and passionate. You can hear the energy of his strokes and how it propels and elevates everything. It sounds great. It’s tight, it’s creative, it’s musical. He’s a beast but his playing serves the music instead of overshadowing it.

Mark playing drums for Ranges in Lyon

“Sojourner” [featured on Heavy Blog is Heavy] feels majestic and powerful, with a pulsing beat. There’s some really cool electronic sounds at play – a wavering, shimmery sound and some warm synth bass – that provide nice textural elements for the guitars and drums to build upon.

Title track “Cardinal Winds” is the song that they’ve saved for the big reveal. I’m guessing that they wanted to keep the album name secret. It commences with a neat percussive sampled intro before launching into the big crescendo sound that is recognisably Ranges. It comes in at just under nine minutes long, so it’s fair to say it’s an epic, comprised of a number of movements.

In fact, there are two other songs of similar length, the aforementioned “Abyss”, and “Solace”.

“Solace” [premiered on the YouTube channel wherepostrockdwells] gives of feelings of solitude freedom, as the name would suggest. 2017’s The Ascensionist was the soundtrack to conquering a mountain, and we return to similar feelings of finding ourselves reckoning with the wild forces of nature here. This is the lull in the album, focused more on ambient textures and tender guitar picking than sheer force or melody. Of course, there’s the obligatory crescendo, but “Solace” is the song that helps you catch your breath.

It’s a shame I can’t comment on the artwork, packaging or merch. Wilson always knocks it out of the park with that side of things. They did such an amazing job with Babel that I’m excited to see what they have planned. I feel that my review is incomplete, but I can at least assure you that the music is worth your time.

These guys are my good friends. I’ve spent 3 weeks in a tour van with them traveling around the world. Of course I have favourable things to say about them. But I truly mean it when I say this is a great album. Their last album Babel was their best work to date, but Cardinal Winds tops it. This record really is a triumph of songwriting. I can’t wait to receive a physical copy and let me neighbours experience it as well when I blast it on my turntable.

Joey playing guitar for Ranges in Ypsilanti

Cardinal Winds is out on Friday 27 August. There’s a countdown clock at https://www.rangesmusic.com/ but I’m not staying up til 3am local time to see what happens. I imagine there’ll be some awesome content available to purchase at the A Thousand Arms and dunk!records websites.

Ranges links:

A Thousand Arms store (USA): https://www.athousandarms.com/collections/ranges

dunk!records store (EU): https://dunkrecords.com/collections/dunk-records-on-vinyl/ranges?sort_by=manual

Bandcamp: https://ranges.bandcamp.com/

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

Instagram: https://www.instagram.com/rangesmusic/

YouTube: https://www.youtube.com/channel/UCBJg41ELchEChCEtIRKz4NA?app=desktop

Twitter: https://twitter.com/rangesmusic

Joseph James (Baggins)

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