Album Review: These People Here – A Bitter Seed

Seattle quintet These People Here have just released their début A Bitter Seed, an album that escapes pigeon-holing. The first track suggests post-rock, but then upon hearing further songs I can’t decide. Indie? Rock? Regardless of how you classify it, the music is simultaneously unsettling and beautiful.

Four of the seven tracks feature vocals – stunningly haunting singing with more than a touch of melancholy. Keyboardist Aileen Paron uses her voice to create stunning harmonies that enhances the brooding moodiness of the music.

Rebecca Gutterman and Rian Turner bring duel guitars which layer atop each other. Their bio lists math rock/post-hardcore legends Rodan as a formative influence of the band, which becomes very clear when you listen to the built up swells and eccentric noodling away. Thomas Edwards provides some deft drumming that captures my attention as I listen. He’s no hard hitter, but makes up for it with speed, finesse and variety with his fills and flourishes.

A Bitter Seed is dramatic and depressingly, thematically speaking, but it’s not all doom and gloom. As I said, the band defy classification, and there are some great moments that make me smile at the originality. One of my highlights is the catchy bassy riffs in the opening section of “Fading Light” And I love the effects in final track “Catastrophism”, an instrumental number that sounds reversed, with eerie wailing punctuating the ebbs in the music.

One thing’s for sure, These People Here know how to set a mood. I hesitate to use the term gothic, but I can definitely picture Edgar Allen Poe enjoying this album whilst petting his pet raven and sipping some red wine. Check A Bitter Seed out if you like your music original sounding and slightly on the macabre side.

These People Here links

Joseph James

Arctic Drones’ tribute to Explosions In The Sky – The Earth Is Not a Cold Dead Place

We are honoured to be included in a piece that David Zeidler has put together to celebrate the thirteenth anniversary of Explosions In The Sky’s seminal third album, The Earth Is Not a Cold Dead Place. Joseph’s snippet features alongside a great many other musicians, designers and writers involved in the wider post-rock scene, all reflecting on the EITS album and how it has influenced them.

The Blaze and the Bloom: Explosions in the Sky’s The Earth Is Not A Cold Dead Place and its Integral Duality

David (who organised the Arctic Drones article) had also teamed up with our own writer CJ Blessum to organise the incredible international post-rock compilation Open Language, released earlier this year.

Thanks to David Zeidler and Arctic Drones for involving Will Not Fade in your work!

Album Review: pg.lost – Verses

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.

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.

Links:
Official: http://www.pglost.com
Facebook: http://www.facebook.com/pglost/
Bandcamp: http://pglost.bandcamp.com
Label: http://pelagic-records.com

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

Album Review: Lost In Kiev – Nuit Noire

For their second album, Parisian post-metallers Lost In Kiev have gone all out and released an epic, sprawling opus named Nuit Noire.

Following on from their previous work, [Motions, 2012, and a 2013 split EP with Zero Absolu] the band has chosen to add spoken word samples to their music. They stray from common post-rock convention however, by writing and recording their own tracks, rather than borrowing select soundbites and quotes from movies, as many of their peers would. Two speakers – one male, one female – narrate the haunting songs. I find it interesting that the French musicians have chosen to include English speaking in their music, rather than using their own native tongue.

The concept story alludes to dark and mysterious nights, as the album title would suggest. I’ve never been one to pay much attention to vocals (which is half the reason that I love post-rock), but the vocal tracks do add to the overall mood and not only enhance, but complete the listening experience, like in Ranges track “If I Were The Devil“. I had an honest go of trying to listen to the stories, but found it rather difficult to hear a lot of it within the mix – even after playing with the EQ to try and boost the vocal levels. After acquiring a copy of the lyrics I had a better idea of the story. My interpretation is that two lovers have somehow become separated, and the woman must try to find her partner who has become lost in a spiritual realm.

The albums feels cohesive as a whole, and is all very dark and looming. I guess that goes without saying when the word “noir” features in the album title. The title track “Nuit Noire” features cries of desperation and despair, giving the song an ominous undertone that can be felt throughout the whole album. One of my favourite tracks is “Catalepsy”, which is set in a hypnotist/psychic’s room, and adds an intriguing dimension to the song.

The music is depressing, yet compelling. It’s typical post-rock/metal/hardcore but by no means clichéd. Think Dumbsaint with snippets of spoken word that add to the setting. Eerie scenes are set, and the music rises and lowers as it takes us on an aural journey. Many brilliant moments can be found, but I’ll highlight a section in “Mirrors” where a grueling breakdown with insanely low bass under-riding crunchy chugged riffs transforms seamlessly into spiraling guitar licks.

Nuit Noire starts strong with “Narcosis”, with sinister humming, tribal drumming and the mysterious vocal tracks. The album finishes with “Emersion”, featuring reverberating tapping, and a long deliberate build up, that lets loose towards the ends with rousing chanting and head-nodding riffage to send us off on a high. And everything in between those two tracks is stellar. If you love post-metal then make sure not to miss this incredible release.

Nuit Noire will be released through dunk!records on September 2nd. Pre-order the album here.

Links:

Joseph James

EP Review: lawoftheland – Dancing Explosions

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.

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:

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