Post-Rock

Album Review: SLVDR/MOMA SPLIT 7″

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The strength of a musical community runs only as deep as the dedication people have to support the music contained within it.  And no, I’m not talking about how many people go to your local show or how many likes you have on Facebook, I’m talking about the group of musicians and creative individuals who define your music scene.  The interconnectivity between bands and healthy competition that results in pushing each other’s limits is what makes a music scene great.  I think we all understand that something happened to live music when the internet killed the same video star that killed the radio star.  A lot of things have changed and perhaps made it harder to build a thriving local music scene in this day in age.  It’s really easy to complain about this and yearn for the “good old days”, but I think we also all realize that while technology may be removing some physical human interaction, the benefits or digital human interactions can lead to some great musical coalescence.

I’ve always wanted to start a small, independent record label.  And whenever I’ve felt inspired to do so I am quickly yanked back to reality by the consequences.  Small labels are all hard work with little to no monetary pay off.  We’ve all heard of crimes of passion, well, small record labels are definitely labors of passion.  It may even require some level of insanity to start your own small label.  But these labels are the ones who make life easier for those of us interested in finding new, underground music.  And when a few small labels join forces from separate areas of the world to bring bands together from opposite ends of the world, we get a remarkable split featuring Rio de Janeiro’s SLVDR and Japan’s MOMA.  The logistical feat in bringing these bands together is both commendable and a fantastic testament to the importance of connectivity and interaction in the musical world of the lesser known.

Released by Ohio labels Tightwolf Records and Delayed Gratification Records along with Norway’s Kakusan Records, this three song split is definitely worth listening to more than once.  We’ve all heard the old adage that music is the universal language.  If any actual language barrier exists its is quickly demolished by the musical work of SLVDR and MOMA.  Dubbed “post-math” by some, this roughly thirteen minute split moves very quickly.  I’m a fan of instrumental, post-rock music, but I tend to lean more towards the cinematic, drawn out styles as opposed to the quick-moving, math-centered instrumentals.  Because the word “math” is in the genre titled, I just assumed I would have to think too much, but both SLVDR and Moma do an impeccable job of luring you in and letting you lose yourself in the music.

Each record label has a unique vinyl color for the SLVDR/MOMA Spit 7

Each record label involved has their own unique vinyl color for the SLVDR/MOMA Split 7″

SLVDR kicks the record off with their song ‘Mike 80‘ and I was immediately impacted by the drumming prowess.  Being the foundation of essentially every musical endeavor, if the drums lack in discipline the result is a horrible recording.  I’ve engineered several recording sessions with a less than competent drummer, and you can immediately tell that the ship is set to sink when the drummer is unable to squeeze a fill in or is trying too hard to do as much as he can.  SLVDR does a lot in very small time frame, but they pull it off beautifully.  Being fairly new to this off shoot of the “post” movement there are several sections of drumming that I just haven’t heard before.  I’m not weathered or versed enough to call it innovative but it is absolutely impressive and is definitely the selling point for me and one of the reasons I decided to review this split.

Like the drums, the guitar bass work is exceptional.  The use of modulating effects is calculated and not over done and beautifully lends itself to filling out SLVDR’s sound which can be difficult to obtain as a three-piece.  I’m a sucker for hooks and the guitar work grabs me for the first time when the band goes heavier at about the 1:30 mark.  Overdriven and straight forward, the simplicity of this section stuck in the midst of ever changing and evolving lines is fantastic songwriting.  These guys are totally capable of filling up a full length with complex time and key changes but taking moments to simplify and grab the ear of the less math inclined enthusiast, like myself, is laudable.  Following a crescendo of gritty guitar and heavy drumming, SLVDR ends with a chaotic math infused outro that ends abruptly, giving way to the piano driven excellence of MOMA.

Japan’s MOMA catches you from the beginning with relaxing piano lines that carry and define their song writing.  Beneath the beauty of the piano lies a solid rhythm section that incorporates numerous time changes and complexities within the music without overpowering or taking away from the gracefulness of the piano.  Initially, I didn’t even notice how frequently MOMA was moving from one time signature to another.  They are truly masters of exploring every opportunity to add or remove a beat here and there while still maintaining an easy to digest sound.

Through the first song entitled “32 Ave“, the guitar work takes more of a backseat to the piano and only adds in a few nicely worked flourishes here and there.  This is not something that is easy to do for many guitar players.  Understanding simplicity and seeing the song as a whole is to some a natural gift, but to others it takes years of practice.  Allowing the piano to dominate the melody in “32 Ave” gives the song a gentle, easy-listening quality that works very well for me.

MOMA was able to fit a second song onto this split called “SUN“.  This song allows the listener to hear the playing ability of both the guitar and the bass while still getting a pleasing dose of fantastic piano melodies.  The ability to carefully place a bunch of notes into a small space is a profound skill I’m not sure I will ever understand.  However, like SLVDR, MOMA does this very well and nothing seems too full or overdone.

slvdr-moma-international-split-stream

While album reviews tend to focus solely on the band or bands involved, I feel it is important to acknowledge the work by the labels involved in putting this split together.  I applaud the effort in bringing two bands from different corners of the world together.  The internet has made this task fairly straight forward but the idea to pursue this split and the trust these labels have earned is remarkable.  For SLVDR and MOMA to toss these labels a song or two and trust that they will nourish and maintain the integrity of their art says an awful lot about these small labels from Ohio and Oslo.

Take a minute or two out of your day and go check out both the music on this split and the great packaging decisions between the three labels.

C.J. Blessum

Album Review: Ranges – Night & Day

Ranges Night & Day cover
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Ranges are a post-rock act from Bozeman, Montana who started out as a trio, and have recently expanded to a 5-piece so that they can play live. Together they write themed instrumental music that is often accompanied by visuals of some kind. Some themes of their past projects have been the Montana ranges, the solar system, and Dietrich Bonhoeffer’s teachings about taking action when you see something wrong. Recently Ranges and some other artists from the region were asked to each contribute to collection that explored the dichotomy of night and day. Ranges’ entry resulted in their latest single, ‘Night & Day’.

I’ve classified this write up as an album review, but in reality it’s a song review. That said, this song is longer than many EPs that I review here anyway. Like the song ‘Dominion’ by Jakob, ‘Night & Day’ is big enough to be a stand alone release without needing the context of an album to sit within.

The song last 24 minutes, representing the 24 hours of the day. Listen closely and you may be able to hear changes that signify different parts of the day, like sunrise or sunset.

The song begins soft, slowly building. After a few minutes things begin to perk up with a piano ostinato, a mantra that slowly ebbs in and out. I interpret this part as birds chirping for the dawn chorus. My favourite part is a stark cut out around the five minute mark with just an electric drum beat and the piano ostinato. Proper drums enter a minute later, solidifying the sound. The song sounds quite uplifting as it increases in intensity.

Around the 7-9 minute mark the piano drops out and the music gets heavier. The tone changes at exactly half way. The soft picking transitions into soaring overdriven guitars and crashing crescendos. The mood becomes cyclical, with tender breaks that launch into a powerful wash. Soaring guitars fly over heavily struck drums. At 18 minutes the mood drops back to a more solemn tone as the day breaks and the sun sets. A guitar bend could just as well be a Coyote howling in the moonlight. The music slowly begins to settle and simplify as it progresses towards the end, ending in eerie swells and light feedback.

A nice touch is that the song was written to loop back on itself continuously, like the cycle of night and day, so if you listen to it on repeat you won’t be able to tell where it starts and finishes.

Mark Levy getting ready to track drums for the song 'Night & Day'

Mark Levy getting ready to track drums for the song ‘Night & Day’

One reason I like Ranges so much is because they’re more than just a band that makes music. Their work is often part of a bigger project. For ‘Night & Day’, Ranges, along with other artists, were asked to create art inspired by the theme, in any medium they wish. Other past projects include providing music for a dance performance when TED came to town, and providing the soundtrack for the short film Tronkyin.  Ranges also put on two feature length audiovisual shows at a Planetarium in support of their album Solar Mansion, which reminds me of local Wellington composer Rhian Sheehan, who also creates soundtracks for shows at Planetariums and observatory domes. Everything that Ranges put out seems ambitious and extended beyond expectations.

Like I said in my Gilmore Trail review, one of the reasons that instrumental music is so intriguing is because the absence of lyrics leave the music open ended so that the listener can interpret the music however they wish. Even though we know that the song is inspired by a 24 hour day, we can still insert our own stories to fit the soundtrack.

Ranges is a band that pushes the conceptual envelope and expands on ideas across mediums, and ‘Night & Day’ is no exception. As well as being a glorious musical track, the sonic interpretation of night and day makes the song all the more interesting. The song is dynamic enough to stay interesting despite it’s length, especially if you try to identify different parts with the song’s inspiration in mind.

Check out the video below to hear ‘Night & Day’ played live. If you like it then make sure to follow the links underneath for more.

ranges.bandcamp.com

www.facebook.com/alpharanges

Twitter and Instagram handle: @rangesmusic

 

Joseph James

Album Review: Toe – Hear You

Toe Hear You cover
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It has been a great year for post-rock. Wellington has recently been visited by some greats like This Will Destroy You, sleepmakeswaves and Mogwai. And some brilliant albums have been released by bands from all ends of the spectrum worldwide.

The latest such release is Hear You, the third studio full length from Japanese rockers Toe.

Although I would classify Hear You as post-rock, it isn’t a strictly instrumental album. In fact, many of the songs include singing, like the tracks ‘Commit Ballad’ and ‘Song Silly’. Some songs are softly cooed, some are rapped. There are both male and female singers, making the sound all the more diverse. The singing is also predominantly Japanese, but I think I can identify English in “Song Silly”.

This first half of the album sounds like one big song that slowly evolves. The second half is where things begin to mix up. ‘Time Goes’ actually sound more like rapping than singing, backed by some funky guitar, bass, and organ. The next song, ‘オトトタイミングキミト’ follows up with the hip-hop feel, this time with jazzy piano parts.

The crisp drumming throughout the album is standout. In fact, the busy drumming during breakdown in “A Desert of Human” is probably the best moment on the entire album. At times drummer Kashikura Takashiit hangs back, waiting. But when the time comes his playing is urgent and hurried, adding pace and filling the emptiness in a tasteful way. He plays around the timing with drags and shuffles, and makes the most of space with varied rolls, fills and flourishes. There is a very math-rock approach, adding colour and vibrancy to some otherwise straightforward sounding songs.

Hear You has a clean, cohesive sound that is soothing but engaging. It is predominantly percussion driven, with jangly picking and light strumming from the guitars. That said, even though there is a ongoing sound saturating the album, it is also incredibly experimental and subtly diverse. Take the track ‘G.O.O.D L.U.C.K’, for example. It contains tabla drumming, whining Kanye autotune sounds and cheerleader chanting. And somehow it all works in together. There are so many intricacies and subtle layers that only reveal themselves on repeat listens. It’s a short album – the 11 songs only add up to 40 minutes of material – but it’s a case of quality over quantity.

Hear You may be short, but it’s so good that you’ll likely find yourself listening to it on repeat anyway.

Joseph James

Live Review: This Will Destroy You and sleepmakeswaves at San Fran, Wellington

This Will Destroy You sleepmakeswaves San Fran Wellington
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This Will Destroy You (Texas, USA)

w/ sleepmakeswaves (Sydney, Australia) and Spook The Horses (Wellington)

San Fran, Wellington

Sunday 7 June 2015

Image: Fergus Cunningham

Image: Fergus Cunningham

Local act Spook The Horse started the night off strong with their searing post-hardcore set. At stages heavy with roaring, and other times calm and contemplative, with plenty of tambourine shaking in between. They ensured that those who arrived early were rewarded for their attendance.

Sydney post-rock quartet sleepmakeswaves were outstanding. This show was towards the end of a long tour (22 countries over a three-month period), but they showed no signs of waning, clearly loving every moment onstage. Most bands who play this kind of music stand there solemnly in the dark as they play, but the lads from SMW were jumping around all over the place having the time of their life. I swear I didn’t see the drummer’s face once, hidden behind his shaggy mop of hair. The music was upbeat and positive, accompanied by quirky electronic samples. It was such a good set that I could have quite happily called it a night then.

Image: Fergus Cunningham

Image: Fergus Cunningham

After sleepmakeswaves’ energetic set, This Will Destroy You didn’t seem nearly as exciting. It was late on a Sunday night and the music was so slow that I could hear my bed calling me. Guitarist Jeremy Galindo was seated for the whole set and even commented that he was ready for bed too. I’m glad I didn’t answer the call though, because I was soon swept up in the music.

TWDY had one of the most intricate set-ups that I’ve seen. Transformers to help compensate for the electrical system differences between NZ and USA. Pedals upon pedals upon pedals. Keyboards and dials and switches, all draped in an assortment of wires. A spaghetti monstrosity of cables laying claim to most of the stage.

And all this equipment was used to create the music. Swells and hums and intricate layers of sound. Spaced drumming with washy cymbals. Sparse keyboard notes on top of haunting white noise. Even though the music was slow and the set lasted almost two hours, it certainly didn’t feel like it. Time didn’t drag its heels, but instead flew past sooner than I realised. And when my eyelids would start to feel heavy the band would launch into an electrifying overdriven segment to wake me up again. TWDY didn’t have the same stage presence of the previous two bands: they let their music do the talking.

Image: Fergus Cunningham

Image: Fergus Cunningham

Not only were we treated to seeing This Will Destroy You, but they also brought another stellar international band with them as support. And sleepmakeswaves actually put on the best performance of the night. It was a relatively small turn out, something that I can only attribute to the fact that it was a Sunday night. And it did go late, until around 12.20am. But once the sleep deprivation wears off, I don’t think anyone in attendance would say they regret having gone.

Joseph James

Thanks to Fergus Cunningham for the photos.

EP Review: Barouche – Volume I: The Expedition

Barouche Volume I The Expedition cover
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Ross Jenkinson is London multi-instrumentalist who has just released a brilliant solo EP under the name Barouche.

The EP starts off with ‘Plot a Course’, a groovy latin-esque number that makes me think of Santana. I’m not usually a fan of much electronic music, but second track, ‘Across the Breeze’ is charming, in a similar style to Panda Panda. ‘If We Could but Rest…’ is another fun upbeat number, delightfully danceable with its offbeat drumming.

Two tracks remind me of darker post-metal like Cloudkicker. ‘The Demons are Shouting’ is tight, angular and djenty, whilst ‘The Better Angels’ is looser, with a deliciously dirty guitar tone coupled with sloshy cymbals.

In fact, those cymbals led me to a personal “Sherlock Holmes moment”. When listening through headphones, I noticed that the hi-hat cymbals were coming through the right hand earpiece. After messaging Jenkinson my suspicions were confirmed – he plays left-handed! Maybe I should pursue a career in detective work…

One key advantage that Barouche has over many other post-rock acts is that the music is tight and concise and not sprawling and slow building. As much as I like music with long build ups, I tend to play that stuff in the background. But I remain attentive to Barouche’s music because it’s short and exciting. People have short attention spans. This is why best-selling pop songs are short and repetitive. And why Barouche will be more palatable than other instrumental projects for many people.

It’s always impressive when someone can create a full musical project on their own. The likes of Lights & Motion and Cloudkicker have shown that it’s possible to still do a Mike Oldfield. And now Barouche has joined their ranks. The range of music is refreshingly experimental, covering different styles and exploring different musical flavours and colours. Jenkinson has displayed an impressive assortment of abilities in his arsenal, recording everything himself using both standard instruments and computer programming.

This collection is Volume I, showcasing a range of sounds and styles. Barouche will continue to flesh out these ideas with future releases, taking each sound in different directions and letting them evolve. If The Expedition is just a taster, then I’m excited to hear the music still to come.

You can download Barouche Volume I: The Expedition from Bandcamp here.

Keep on eye on that page. An ambient/noise record is due in a few weeks, with a  “Big, Happy, Rock” EP to follow shortly after. By sounds of things, Barouche won’t be slowing down any time soon.

Barouche      Facebook

Joseph James