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Album Review: sleepmakeswaves – It’s Here, But I Have No Names For It

sleepmakeswaves It’s Here, But I Have No Names For It album cover
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sleepmakeswaves are the following:

  • Fun

  • Energetic

  • Excellent riffs

  • One of my favourite post-rock bands

  • Absolutely awesome

  • Hot, cool and sexy

sleepmakeswaves Monolith Melbourne by Will Not Fade

I’ve seen sleepmakeswaves play twice. The first time was at San Fran, a local venue here in Wellington. They were opening for This Will Destroy You, and were incredible and definitely made TWDY look lame by comparison. The next time was in Melbourne, at Monolith Festival. Monolith was an awesome day featuring a unbelievably stacked lineup of Australian post and prog bands, and sleepmakeswaves played a stand out set that made me feel so giddy and happy that I think they should look at somehow packaging their music in pill form to be used as antidepressants. 

I will be seeing them play in Belgium at dunk!festival this coming May as well and they are the band I am most excited to see.

But let’s not get ahead of ourselves.

I reviewed their album Made of Breath Only back in 2017. I loved it, of course. Since then sleepmakeswaves have released an ambitious 3 EP trilogy, a live album, and a split 7″ with Cog [Another fantastic Australian band. They also played the aforementioned Monolith Festival, and I’ve written about one of their side projects – The Occupants]. And now they’re treating us to a new record: It’s Here, But I Have No Names For It.

What a beautifully meta title. It’s basically called Untitled, but in the spirit of ridiculous long run-on names that are somewhat common in the post-rock scene [other examples: maybeshewill, 65daysofstatic, worriedaboutsatan]. I see other glimpses into their sense of humour when watching their Metallica cover [shaving a chopper mo just for the video is definite commitment to the bit!] and their 8bit computer game promo video for this album, and I get the impression that these lads would be great to hang out with.

Let’s engage in an imagination exercise. Picture me pressing play on this record. I’m listening to an advanced digital download, but it’s cooler if you picture me placing the needle onto the groove of the record while it spins on the turntable. Probably a splattery green pressing, to match the album art. It doesn’t matter – this is an imagined scenario anyway.

Cue fuzzy droning, a cool metallic metronome, a wicked drum beat, and a big build up. My face lights up more and more with each addition. There’s a pause, and then a huge bombastic drum fill. Suddenly I’m jumping around the room, playing air-drums, with a big pulsing quarter notes on the crash cymbal, whilst simultaneously wielding a sick air guitar and shredding. I’m full stank face mode, and we’re only a minute into the album.

Let that visual inform you of the tone of this review. sleepmakeswaves make me so excited and I need everyone to know about it. 

Lead single “Super Realm Park” is big, energetic and driving.  It has loud parts and quiet dynamic sections. There’s some glitchy electronic elements at times, and lots of tremolo playing. It finishes with a lovely piano outro. It showcases exactly what sleepmakeswaves are capable of. 

Here’s an extract from the press release for the second single, “Ritual Control”:

The band comments: “Ritual Control was originally demoed as Dr. Riff Has Arrived. I still wonder whether we were mistaken to have not kept the old title.

Otto originally presented the skeleton of the song to us with the concern that maybe the riff were “too dumb”. In fact, Tim and I responded, they are the perfect quantity of dumb. Sure, these riffs aren’t going to earn a PhD but they will hold down a full-time job, get the kids to school on time and read the occasional piece of challenging non-fiction on weekends. These kinds of courageous and heartfelt conversations are the core of what effective post-rock songwriting is all about.“

Big dumb riffs. That’s what we want. Why think when you can headbang? Local doomlords Beastwars have the slogan “Obey the Riff”, which is both marketing genius and an apt phrase, and summarises exactly the feeling I’m trying to convey. Most sleepmakeswaves songs are instrumental. We don’t need to get caught up pondering meaning and . Dumb riffs = good music. Also, Soundgarden have a song entitled “Big Dumb Sex”. Not sure how that’s relevant but I feel it supports my case somehow. 

I’m not sure which riff in “Ritual Control” riff is the “dumb riff” in question, but there’s a great part at 2:30 where everything drops out, and an extremely raunchy riff comes centrestage, and I must draw your attention to that part of the song. 

sleepmakeswaves Monolith Melbourne by Will Not Fade

The album starts of extremely strong, and you definitely know about this. Things shift gear down from such bombastic heights and begin to take a turn with the fourth track, “Black Paradise”, which features quiet guitar picking for the first half, followed by pretty synth drone and guitar swells in the following song, “Verdigris”.

Two songs features ethereal vocals, which is a point of difference for an instrumental band. We hear singing on “Terror Future” – with its especially outstanding basslines, and also on the titular track.

“It’s Here, But I Have No Names For It” is truly beautiful. The serene fingerpicking and searing yet calm guitar playing reminds me of Dan Caine’s work. It builds up with an anthemic rock feel, but there’s something special about this track that sets it apart from the others. It feels more considered and emotive, and somehow befitting of it’s name. To quote the band again: “The title is a line from zen and the art of motorcycle maintenance, about not needing to find words for everything all the time.” I can’t explain it, but I somehow understand how fitting that is when I hear the song.

sleepmakeswaves Monolith Melbourne by Will Not Fade

This is what I wanted. This is what I needed. sleepmakeswaves delivers, yet again. It’s Here, But I Have No Names For It sounds simply huge. The album feels short, but it packs such a punch that perhaps more music would cause fatigue. It is an album of two halves. The immense, high energy rock songs at the start of the album are incredible and fill me with such incredible joy and excitement. And then the later half of the album features a few quieter tracks to show that sleepmakeswaves aren’t just a one-trick-pony. But trust me, it’s all fantastic. Or maybe don’t trust me – I’ve painted a picture of a madman when describing my reactions to sleepmakeswaves’ music. – but at least check out this excellent album.

sleepmakeswaves have Australian, American and European tours lined up to promote this album. They are playing alongside their countryfolk Meniscus and Tangled Thoughts of Leaving, as well as Taiwanese math-rockers Elephant Gym. I encourage you to attend one of those shows if you get the opportunity. As I mentioned earlier, I will be seeing them at dunk!festival in Belgium, and I am fizzing with excitement for it. 

It’s Here, But I Have No Names For It will be released on 12 April 2024

 

sleepmakeswaves links:

Order: https://sleepmakeswaves.bandcamp.com
Instagram: https://instagram.com/sleepmakeswavesaus
Facebook: https://facebook.com/sleepmakeswaves
Label: https://birdsrobe.com


Review and photos by Joseph James

Album Review: Nihiling – Batteri

Nihiling Batteri cover
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Are you the type of person who believes in the album as a whole? Do you listen to music on shuffle and make playlists from the singles, or listen to entire albums as the artists intended it?

The reason I ask is because for the past few weeks I’ve been listening to Nihiling’s new album Batteri out of sequence. When I downloaded the album the tracks arranged in alphabetical order, and not according to designated track listing, and I feel that somehow I’ve ruined the listening experience.

Not that the experience is bad by any means. But I’ve had to reflect on whether listening to the correct track ordering enhances the album listening experience, or if the tracks need be good enough to stand on their own.

I was taken by “Cellardoor”, the first track I listened to. For first impressions, it certainly had me intrigued. It begins with clicking noises (someone playing the spoons?), and drawn out cello notes. As this progresses the music grows more complex, with multiple poly rhythms that don’t fit work in well together. Despite this, it works. I found myself thinking back to Biffy Clyro’s “Living Is A Problem…”. seeing as both tracks are odd, but undeniably technically proficient.

The real first track of the album, “Ottersong” commences with a minimalist beat and singing that reminds me of Bedouin Soundclash’s Jay Malinowski. Slowly other elements come into the foray – toms and tambourines, more singers, weird glitches. Everyone has their chance to shine, with no shortage of talent fond.The guitars are especially great later in the piece , transitioning from effect laden underwater sounds to searing solos.

But like I said, there is no shortage of talent here. As biased as I am, I find the drums outstanding throughout the album – Rhythmically hypnotizing and dynamically diverse. Not to mention the singing. I’m a sucker for good vocal harmonies and Batteri offers this in spades.

But if you want my recommendation for the first track to start on, try “Power Rangers”. THIS. TRACK. RULES. Honestly, even if my review isn’t going to sell you on the album, at least take the time to listen to this one song. I’ve embedded it in the review here for convenience. The song has two  sublime elements: groove and harmonies. Just give it a listen. Please.

That’s another thing that threw me – the singing is incredible. .Not only was I listening to this album with the songs in the wrong order, but I went in with incorrect assumptions. The press release called it post-rock, but the best songs don’t fit within this description.

I’d class Batteri as eclectic math-rock. As a general rule, the post-rock genre lacks singing. Whereas Nihiling give us layered vocal harmonies to die for. Odd indie Glitches and effects. You can call it post-rock if you must, because I can’t think of any accurate genre classification.

Upon listening to the band’s earlier releases I can understand the post-rock label better. But the band have evolved and embarked into new territory with Batteri. The first half of the album offers experimental prog-rock, and the latter half gives us the post-rock that was advertised.

“Rope” lurks into trip-hop territory. I’ll give the band kudos for atmospherics. Despite the simplicity of it, there is an off-vibe permeating the track, slowly becoming more unhinged as it progresses. The messiness worsens when a chaotic programmed synth à la The Who’s “Baba O’Riley” comes into play towards the end of the song.

“Idiot” goes heavier, with doomy sludge metal that loses intensity half way through, only to be replaced by a snare drum tattoo and less saturated guitar tones.

I highly recommend that you give Batteri a listen. If you do, you’ll hear brilliant musicianship, interesting experimental sounds, great groove, mathy dynamics and vocal harmonies to die for. The first half of the album stands stronger than the reserved post-rock of the second half, but don’t let that stop you checking out this stunning release.

 

Nihiling’s fourth album Batteri came out on Kapitän Platte on May 5, 2017.

Nihiling links:

Joseph James

Album Review: sleepmakeswaves – Made Of Breath Only

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I was already a fan of sleepmakeswaves before they released their last album, Love of Cartography, in 2014. And I thought that album was great. But it wasn’t until I saw their fantastic performance opening for This Will Destroy You in Wellington the following year that I realised just how great a band they are.

So when they asked for support to crowdfund their new album Made Of Breath Only via pozible I was right in there. sleepmakeswaves, you are welcome to my money if it means more incredible music. (You are welcome to even more of it if you decide to come and play in Wellington again as well!)

So I pledged my money to the worthy cause, shared the link a few (OK, more than a few) times to garner further support, and waited for the album to be recorded.

Stylistically, I’d say sleepmakeswaves are similar to both maybeshewill and 65daysofstatic in many respects. Of course you can draw the parallels that all the bands have runonnamesthatlackspaces, but they also all play remarkably energetic post-rock with electronic elements.

Made Of Breath Only commences with a short intro track that builds anticipation, before segueing seamlessly into the explosive opening of “World’s Away”. The track dies down quickly, but remains interesting, with computer glitch sounds adding texture to the jazz rock guitar noodling. Not that this lasts long, because sleepmakeswaves are HIGH ENERGY! Goshdarnit I love these people! Overdriven guitars, thunderous bass, twinkling keys and incredible drumming marry to form aural bliss. So dynamic! The track comes in waves, from rocking wildly, to quieter, more musical passages. And every moment is infectious with joy.

I’m finding it hard to describe my excitement using words alone. Please picture me wildly air drumming and grinning ear to ear as you read my sentences for the full immersive experience.

OK, so we’re only about ten minutes into this album and I’m already calling it as one of the best albums of the year. Sorry, but if you want an objective, unbiased opinion you’ll have to search elsewhere.

“Tundra” was the lead single from the album and I tend to agree that it is the best pick. The lead guitar cuts through with plenty of treble, atop a rolling beast of monstrous rock. And again, it’s that energy that makes it so compelling to listen to. The slower dynamic moments show off the band’s talents as well-rounded musicians, but it’s the explosive sections that inspire. It’s more than the usual crescendocore post-rock here, with some of the amazing music from the Australian prog-rock scene clearly rubbing off on the sleepmakeswaves crew.

I’m overstating the energy to a degree. There are some incredible moments in the quieter sections of the album, like the tender piano parts of the title track.

In the past I have sometimes written about how I prefer “real” instruments over computers. I prefer rappers who have bands over ones with DJs. If I attend a concert I want to see musicians playing live, not acting along to backing tracks. And when I listen to an album I’d prefer to think that the music was actually played and recorded, and not just programmed into a machine. Well I’ll eat my words in whatever way you see fit here because the computerised aspects really enhance the music. The glitches add an extra dimension to already great songs.

If I haven’t made it clear already: this album is incredible! Listening to it makes me feel elated. And the talent is immense. Daniel Oreskovic from fellow Sydney post-rock act Meniscus has replaced founding member Kid on guitar, and although I by no means want to slight Kid’s part in the band, I think an injection of fresh ideas from a new member may have helped to rev the band up a bit.

Made Of Breath Only is going to do wonders for sleepmakeswave. They haven’t even released it yet and they’re already touring China, and scoring support slots on tours opening for big international acts like Underoath and Devin Townsend. And, even better, they are on the verge of breaking out from their niche genre into mainstream awareness thanks to radio play from Australian youth station Triple J.

Listen to this album. If you like post-rock, then you’ll recognise how good it is. If post-rock isn’t your thing, then this could prove to be your gateway album. It’s a beast of an album and deserves your attention.

Made Of Breath Only comes out on Pelagic Records on March 24, 2017

sleepmakeswaves links:

Official: http://www.sleepmakeswaves.com
Facebook: http://www.facebook.com/sleepmakeswaves
Bandcamp: https://sleepmakeswaves.bandcamp.com
Label: http://pelagic-records.com

North American, UK and European fans, you can order the new album at cheaper shipping rates right here: www.sleepmakeswaves.com?p=1916

Album Review: Klone – Unplugged (Live Acoustic Album)

Klone Unplugged Album Cover
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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 Unplugged Review Promo Pic

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

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