AeTrees Presenting... The Bedroom

So, in the (probably) last part of the "AeTrees Presenting..." series this year, I am going to present perhaps the least known act among those thus far presented, a Galway (Ireland) native, currently residing in London, The Bedroom, otherwise known as Olan Stephens. This young unsigned artist, calling his project "audio visual", makes some interesting music, accompanied by rather gloomy and weird visuals, and this year he has released his debut record – "The Graveyard of Ambition" EP. Later on I will give a short review of it, but beforehand I will try to present The Bedroom. And his motto is "too school for cool". Hmm, I just felt you should know that...

Olan Stephens was the lead singer and guitarist in what seems to have been a rather prominent and critically acclaimed indie rock/math rock band from Belfast, Northern Ireland, named Eatenbybears. They had put out several EPs and had some devoted fans, but in 2013, after a prolonged silence, officially announced their split. Three of the members formed a new band, and their former frontman Olan moved on as a solo artist, starting up his project, called The Bedroom. He later moved to London to pursue his career. Already in spring 2013 Stephens divulged his first song as The Bedroom, called "Basquiat", named after a neo-expressivist painter from New York, Jean Michel Basquiat. The song itself showed no traces of indie rock but, honestly, it's hard to describe. Nevertheless it was met by rather harsh criticism at the time. Then he went on to deliver "The Big Up" and "Disconnect". Each of the songs received some weird video, all of them showing Olan and occasionally (in the middle of the songs mentioned) other people wearing creepy and simple white plastic animal masks, notably that of a cow, a tiger and a pig. And in the "Basquiat" video the artist posed with a simple sheet of paper on his face with projections of a creepy painting imposed on it. One cannot deny the effect of such art. It enhanced the simple yet sad message of the songs. Whilst finalising his debut release, The Bedroom performed in several venues both in England and Nortern Ireland, also in his native country. Live his set is realised using effect pedals, an electric guitar and a laptop, sometimes with help from drummer Michael Speers. What the future holds for this marvellous artist is yet unknown, but his creativity is fascinating. The originality and emotional effect of his music is undeniable.

So, now I will shortly overview his EP, titled tragically "The Graveyard of Ambition". It is comprised of five song – the three that I've already shortly mentioned and two others. The records starts with "The Big Up" – a rather strange electronic take, characterised by a loop of a trumpet sound and Olan trying to sing on top of it, then comes the emphatic beat. "Is this exactly what you want?" – sort of ironically says the singer. Some pop cheerfullness, opposed to existentialist lyrics. Then it goes all big with toms being banged and overall excitement over the top. "This might be where you're supposed to go" – at least some live-reaffirming message... Some guitar even. "You want it aaaaall, you wanted ooooout" – chants Olan along the lines of the trumpet sample. Track number two is "Basquiat", that, according to its author, is about a man, desperately trying to become one of the paintings of Jean Michel Basquiat. Hmm, who can deny originality for this guy? The song frantically runs between moments of pop safety, like a club, and creepy insanity, with piano chords being hit and weird samples being throwed in. "Waiting around, waiting to be found... Like Basquiat. Like Basquiat" – Stephens keeps repeating. Sort of a cold despair of an outsider, trying to become someone, nevermind that it's impossible (to be a painting of a famous painter...). The tragic notion, that lies beneath, becomes even more evident on my personal favourite, "Birthday Cake". It was the first song by The Bedroom I've heard. Why? Because when I first discovered this artist, via Bandcamp, the song with such a straightforward tittle seems the best choice, ha. But, oh no, it's far from being a happy song. "It's a painful day, the one you realise that you're wasting away" – sadly mumbles the musician. The beat is one of the best and the glitchy on and off dynamics that are intrinsic for the song, are wonderful. It seems like the whole song can crumble like the birthday cake in question, being sticked together from pieces and various ingredients, yet somehow stays in place, defying gravity, some trumpets appear again, sounding even sadder, in contrast to the topic of a birthday that makes you feel shit. The fourth song is the already mentioned "Disconnect", delivering an even more straightforward message of despair and absurdity, that lays the foundation of our being in this world, it starts with some clancky percussion, giving hints of minimalism a la Steve Reich or some southern melodies, however quickly comes the deep bass and jarring percussion. The chorus is a very literal take on the title: the percussion and bass, and the beat is buried somewhere deep beneath the surface. Like some Kantian "thing-in-itself", it goes away before you extend your hand to touch it, while some broken machine clicks in and out repetitevily, and Olan emotionally says: "It's like I can't believe, what's happened or what's happening to me – so I disconnect". Such themes are not a rarity in art and music, but not everyone can make it so sincere. The part before the end is a frightening and gloomy sea of agony and despair. This theatric nightmare. Alas, who can present such a straightforward and undeniable message without sounding cheesy? The last song is the anxiety –ridden and strangled "My Everything". It comes closer with ambience besides the fire, and then states its truths with a beat, and the part, when the artist says, sounding honestly tormented "I want to know why, why I can't breath... why I can't breath, what about my energy?" Hard to listen and not fall into utter existential depression. But I like sad songs, come on, who needs art at all if not to pinpoint the things that really are sad and tragic in our being in this world? I think, honest people feel that way, and do not avoid the sadness they have, however sad it might seem to blinded optimists that rule this world and listen to cheerful sassy and empty music. Overall, the EP is very interesting and just wonderful, mixing things that remind me of R'n'B, techno, hip-hop, ambient and so on, it manages to stay on its path, eschewing easy ways to impress for a lasting effect it ultimately makes.

Good things: the uniqueness of the music and art, honest lyrics.

Bad things: the way that the artist never fully explains what do all the visuals and imagery (animals masks and upside down video) mean, while it's surely interesting, the lyrics in "Disconnect" say "as if my life was just a game", well, in my opinion, it is so, because all our lives is just a game.


The Bedroom:

http://thisisthebedroom.com/
https://www.facebook.com/thisisthebedroom
https://twitter.com/thebedroom_ 
https://thisisthebedroom.bandcamp.com/

Come on, be nice and buy "The Graveyard of Ambition" on Bandcamp:

https://thisisthebedroom.bandcamp.com/

Videos by The Bedroom:

AeTrees pristato... The Bedroom

Ką gi, po ilgos pertraukos nusprendžiau skaitytojų dėmesiui pateikti naują „AeTrees pristato“ rubrikos dalį. Šįsyk mano dėmesio sulaukė turbūt mažiausiai žinomas, bet gal net geriausias iš visų iki šiol pristatytų. Tai – iš Airijos Galvėjaus miesto kilęs, bet Londone gyvenantis Olanas Stephensas, geriau žinomas, kaip The Bedroom. Na, matyt, sunku sugalvoti geresnį pavadinimą lo-fi muzikos projektui... Šiemet Olan'as išleido nepilną albumą „The Graveyard of Ambition“ (angl. „Ambicijų kapinės“). Tai trumpas bet stiprus penkių dainų rinkinys, pasiekiamas per The Bedroom Bandcamp'ą. Vėliau pateiksiu trumpą šio nepilno albumo recenziją. Bet prieš tai trumpai supažindinsiu su pačiu jo autoriumi, The Bedroom.

Iki The Bedroom, Olanas Stephensas grojo ir dainavo Šiaurės Airijos Belfasto miesto grupėje įdomiu pavadinimu Eatenbybears (angl. „Suvalgyti lokių“), kuri grojo kažką panašaus į math rock'ą ir indie rock'ą, sulaukė šio tokio pasisekimo bei dėmesio iš spaudos ir fanų per kelerius savo veiklos metus. Tačiau 2013 metų pavasarį grupė baigė gyvavimą, trys iš keturių narių suformavo naują grupę mažiau įdomiu pavadinimu Affleck, o Olanas pasuko savais keliais ir pradėjo šį savo projektą. Jau tą patį 2013-ųjų pavasarį jis išleido debiutinę dainą kaip The Bedroom, pavadinimu „Basquiat“, kuriai pats sukūrė ir video. Sprendžiant iš vieno portalo, kuriame apie tai pranešama, skaitytojų komentarų, daina nelabai patiko. Klipas išties kiek gluminantis, o daina skamba kaip senų hip-hop'o ir R'n'B stilių dainų fragmentai su stipria boso linija. Visgi, manau, kad tai visai nebloga daina. Vėliau Olanas išleido ir dar du kūrinius – „The Big Up“ ir „Disconnect“, kurie taip pat sulaukė klipų, kuriuose ir vėl dominavo kaukių ir (beveik) atsitiktinių daiktų sankaupos. Galiausiai, šiemet The Bedroom išleido debiutinį EP, pavadinimu „The Graveyard of Ambition“, kuriame skamba visos trys minėtos dainos bei dar dvi naujos. Tuo tarpu, Olanas nemažai koncertavo Anglijoje, Šiaurės Airijoje ir gimtojoje Airijoje. Gyvai The Bedroom remiasi Olano dainavimu/grojimu gitara/grojimu laptop'u ir efektais bei kartais būgnininko Michaelo Speerso pagalba. Apskritai, manau, kad The Bedroom yra tikrai perspektyvus ir įdomus projektas, kas jo laukia toliau- nežinia, bet norisi, kad Olanas sulauktų pelnyto pripažinimo, nes tai, ką jis kuria, yra išties smagu.

Taigi, kaip jau minėjau, „The Graveyard of Ambition“ sudarytas iš penkių dainų. Pirma iš jų, jau kiek paminėta „The Big Up“ skamba kažkuo panašiai į Damon'o Albarn'o „Everyday Robots“, na, bent jau tuo, kad Olanas dainuoja pagal trimitų loop'ą. Vėliau atsiranda vietos ir kietam beat'ui ir boso linijai, o vėliau viskas tampa visai didu, lyg kokioje senoje R'n'B dainoje. Atsiranda vietos ir gitarai. „You want it all, you wanted out“ – dainuoja vokalistas, stengdamasis perrėkti trimitus. Daina, rodos, apie šlovę ir jos (ne)pasiekimo pasekmes. Antroji daina – taip pat jau minėta „Basquiat“, pavadinta pagal žymaus amerikiečių avangardo menininko, tragiško likimo kūrėjo Jeano Michelio Basquiato (Žano Mišelio Baskvijato) pavardę. Įdomu, kad, kaip sako pats Olan'as, ji yra apie žmogų, kuris apsėstas idėjos, kad nori tapti vienu Basquiato paveikslu... Tai vaizduoja ir keistas video, kuriame muzikantas pozuoja su baltu popieriaus lapu priklijuotu prie veido, bandydamas „būti“ ant sienos projektoriaus piešiamu paveikslu. „Waiting around, waiting to be found, like Basquiat“ – traukia iš savęs Olanas. Daina, taip pat, matyt, tęsia tą pačią žinomumo-meninės vertės koliziją, kai stengiamasi tapti žinomu, bet, kaip šiuo atveju tai neįmanoma (kaip norint „tapti“ žymaus dailininko paveikslu). Trečioji daina – „Birthday Cake“, kuri yra ir pirmoji The Bedroom daina, kurią aš girdėjau. Kodėl? Nes, kai atsiverčiau jo Bandcamp puslapį, hmm, pirma į akis kritusi daina buvo kaip tik „Birthday Cake“, nes, na, nes pavadinimas skamba įdomiai ir galvoji, kas gi čia bus. O čia – visai ne kokia smagi daina, kaip galima būtų tikėtis, grynai iš pavadinimo sprendžiant, o šmaikščiai saviironiška ir netgi tragiška daina apie liūdną gimtadienį. „It's a painful day, the one you realise that you're wasting away“ – be linksmumo balse dėsto Olanas ir aš jį suprantu. Muzikine prasme, daina yra geriausia The Bedroom daina, manau, ji dar labiau sudurstyta iš fragmentų, negu kad „The Big Up“. beat'as labai įdomus, o glitch'inė dalis itin gera. Tokia pirmyn-atgal judėjimo pilna daina. Ketvirtoji daina – „Disconnect“, regis, dar liūdnesnė. Maloni ausiai perkusija kažkur fone lyg ir suponuoja kažką a la  Steve Reich ar pietietiško, bet ne, čia vėl bus liūdna... Gilūs sintezatoriaus bruzdėjimai, ištampytas balsas, galiausiai, įvairūs keisti garsai, o tada, per priedainį, visa perkusija ir beat'as sminga gilyn, o mes liekame su Olanu ir užstrigusiu kopijavimo aparatu ar durimis, hmm, nežinau. „It's like I can't believe, what's happened or what's happening to me- so I disconnect“ – šaukia jis. Tada stoja niūri naktis, kažkoks baisus sapnas, kuriame keisti garsai ir balsai maišosi su primityvia perkusija ir efektais. Pabaigoje jis dar grįžta tarti paskutinių žodžių. Penktoji ir paskutinė šio nepilno albumo daina – „My Everything“ skamba sunkiai ir skaudžiai. Ambient'o garsai ir paskiri garsai, „What about my... everything“ – spaudžia iš savęs Olanas. Geriausia vieta yra ten, kur prasideda kita dalis, jis sako: „I want to know why, why I can't breath? Why I can't breath, what about my energy“, sintezatoriui plaukiant lėtai ir gražiai kažkur netoliese. Pabaigoje, kai nebelieka nieko, išskyrus balsą ir gausmą, skamba širdį veriančiai. Albumo temos, manau, yra dėmesys ir pasibaigusi draugystė, psichiniai sutrikimai (bipolinis sindromas, nerimas), nusivylimas savo gyvenimu- tokios man artimos. Todėl man asmeniškai šio muzikanto atradimas ir šis nepilnas albumas buvo vienas didžiausių įvykių šiais metais. Sunku rasti tokios galingos muzikos, kuri būtų išdėta Bandcamp'e, o ne būtų kokios nors korporacijos nuosavybė. Iš tiesų, vienas originaliausių ir įdomiausių dalykų šiais metais.

Geri dalykai: muzikos unikalumas, puikūs dainų žodžiai.

Blogi dalykai: trūksta informacijos, ką reiškia visa The Bedroom simbolika (gyvūnų kaukės pvz., ar įvairūs daiktai, pvz., plaktukas), dainoje „Disconnect“ sakoma „As if my life was just a game“, tai filosofiškai aš sakyčiau, jog taip ir yra – gyvenimas yra žaidimas.

The Bedroom:

http://thisisthebedroom.com/
https://www.facebook.com/thisisthebedroom
https://twitter.com/thebedroom_ 
https://thisisthebedroom.bandcamp.com/

„The Graveyard of Ambition“ galite nusipirkti čia:

https://thisisthebedroom.bandcamp.com/

The Bedroom sukurti video:

Žvilgsnis iš šalies į Rusčio elektroniką, arba Rustie "Green Language"

Taigi, po ilgesnės pertraukos, aš grįžtu su nauja recenzija! Šįsyk einu dar vieną žingsnelį tolyn nuo savo žanrų, šį kartą – tiesiu taikymu į elektroninės muzikos vandenis. Ir pirmas mano taikinys- Rugpjūčio 25 d. „Warp Records“ išleistas škotų prodiuserio Rustie (Russell Whyte) antrasis albumas, kuris vadinasi „Green Language“ (angl. „Žalioji kalba“). Pats terminas, pasak Rustie, yra susijęs su Antikos mitais, Viduramžių literatūra ir  Renesanso magija, o „žalioji kalba“ yra kalba, kuri apeina mąstymą ir tiesiogiai pasiekia sielą, o tai, pasak jo, gali būti muzika. Neturiu kažkokios specialios istorijos, kuo mane, šiaip jau prie elektroninės muzikos nelinkusį (o anksčiau jos ir privengusį) muzikos klausytoją patraukė į savo pusę Rustie, o ne devynios galybės jo kolegų, kurie irgi šiemet į pasaulį paleido kokį nors įrašą. Pirma jo daina, kurią apskritai esu girdėjęs, būtent „Green Language“ pristatymo singlas „Raptor“, su jai skirtu savotišku klipu, kuris atkartoja albumo viršelyje (viename gražiausių šiais metais) dominuojantį hiperrealizmo stiliaus flamingų įvaizdį, visai netikėtai man patiko... Pasižadėjau sau, kad žūtbūt paklausysiu ir visą albumą, ką, galiausiai, ir padariau. Taigi, ką aš ten įžvelgiau, žvilgsniu iš ne-elektroniškųjų muzikos pakraščių, skaitykite žemiau.

Pirmoji daina – „Workship“. Ji pasitinka mus savo blyksčiojančiomis akimirkomis. Tai – lyg intro į albumą. Garsai šniokščia pro šalį, po truputį augdami ir įgydami jėgos, fone melancholiškai groja klavišiniai. Tada suduoda smūgį beat‘as ir tada dar sykį. Tas lėtas vystymasis sukelia mintį, kad lauki kažko, o ko- nežinia, daug netikėtų posūkių, lėkštės.

Keista, be antroji daina – „A Glimpse“ – tęsia tą pačią tendencija ir yra lyg dar grynesnis intro. Čia daugiau veiksmo. Bet pradžioje čiulba paukščiai, pirmyn ir atgal, sintezatorius žaismingai žaižaruoja kažkur šalia, lyg ir kažkur girdėta, bet taip malonu, vėl įsijungia beat‘as ir bosas. Vėl lauki kažko... Trūkčiojanti muzika. Pabaiga- ypač gera, su gitaros doze.

Trečioji daina – jau mano kiek aptartas „Raptor“, tai pirmoji mano girdėta Rustie daina, kuri, pripažinsiu, nenuvylė. Dar prieš tai buvusioje „A Glimpse“ girdėti garsai čia prasitęsia ir kiek nutyla, užleisdami griežtam beat‘o diktatui, lydimam puikios sintezatoriaus melodijos, paskui eina viskas į viršų, tada per jusles tvoskia bosas. Sintezatorius žaižaruoja kažkur aukštybėse, o beat‘as toliau neatleidžia mūsų nuo šokių aikštelės jausmo. Paskui viskas dar keletą sykių pasikartoja, galiausiai sintezatorius visai suįžūlėja ir daro, ką nori. Fone – lyg ir elektrinė gitara. Manau, tai ir yra geriausia šio albumo daina, nors gal šį mano vertinimą paveikė tai, kad jau išgirdau pirmiausia.

Ketvirtoji daina – „Paradise Stone“ – leidžia kiek atsipūsti, pratęsdama flamingų plunksnų, likusių nuo „Raptor“ pabaigos, plevenimą. Toliau viskas agresyvėja, sintezatorius šnairuoja į kairę ir į dešinę, o kažkur giliai tyvuliuoja. Toliau prasideda metalofono ir ksilofono dalis, verta Foals plunksnos. Bet elektroninis pagrindas skamba dar įdomiau. Minimalizmas ir grynas oras.

Penktoji daina – „Up Down“, kurioje pasirodo ir grime ir hip hop'o muzikos atstovai iš Anglijos D Double E. Nesąmoningai norisi pradėti interpretuoti tekstą, kuris akivaizdžiai yra apie gyvenimo nepastovumą – tai aukštyn, tai žemyn. Fone gamtos garsai,ar hiperrealistinė jų imitacija, beat‘as primena kažkokį įprastinį elektroninės muzikos žanrą. Pavadinimas interpretuojamas labai pažodžiui ir ties žodžiu „Up“ balsas traukiamas į viršų, o ties žodžiu „down“ tempiamas žemyn. Šiaip daina vėl labai kovinga, bet repavimas kažkaip čia man nesueina. Vokalai kažkaip užgožia muziką, mano manymu, ne sustiprina, o susilpnina ją.

Šeštoji daina, beje, tęsia kovingumo temą labai aiškiai ir netgi tiesmukai – ji vadinasi „Attak“ ir joje sudalyvauja amerikiečių reperis Danny Brown'as. Čia hip hop'o indėlis labiau vykęs nei iki šiol. Visgi, ir muzika, tie tokie lyg ir kovos trimitai, išspausti sintezatoriaus pagalba, neprastesni. Ši daina yra antrasis albumo singlas. Primena kiek These New Puritans „Hidden“ albumą, nors ne taip rimta.

Septintoji daina – „Tempest“ ir šįsyk apsieita be pašalinių asmenų indėlio. Viena geriausių dainų. Dar viena lėta, prasideda su gitara ar panašiu į ją daiktu. Lėtas, natūralus beat‘as. Per vidurį – lyg tikra audra, praeina žingsniuodama atgal visai čia pat, tada visas vyksmas toliau lėtai teka, kaip upė.

Aštuntoji daina – „He Hate Me“, kur pasirodo Gorgeous Children. Čia muzika nenoriai vėl nuslenka į šešėlius, užleisdama į priekį vokalą, kuris ir vėl kiek nuobodokas, viskas beveik apsieina be beat‘o, akustinis repas sintezatorių apsuptyje. Beat‘as kartais pasirodo ir vėl nuslenka į šešėlius. Melodija labai paprasta, bet tokia maloni. Daina gana nuobodoka apskritai. Toks jausmas, kad ji niekada nesibaigs.

Devintoji daina vadinasi „Velcro“. Čia viskas prasideda kaip koks karaoke. Bet su laiku sintezatorius parodo, kad ne viskas taip nuobodu, o perkusija netikėtai labai karinga, skamba net karingiau, negu „Attak“. Po viskuo rausiasi bosas, vyksmas tęsiasi. Galiausiai, viskas išsitaško, tada vėl leidžiasi ir kyla, kažkokia gitara netgi, apskritai, viena geresnių dainų.

Dešimtoji daina – „Lost“, trečiasis singlas iš šio albumo, kuriame pasirodo ir ritmenbliuzo atlikėjas iš Anglijos Redinho. Bene geriausias kokio nors vokalo pasirodymas. Prasideda veiksmas kaip tipinėje ritmenbliuzo dainoje, pagardintoje Rustie elektronika. Tačiau priedainis migdantis. Gana stipriai veiksmas krypsta į popsinę pelkę. Bet produkcija puiki.

Vienuoliktoji daina yra „Dream On“, ir, nors neparašyta, kad čia kas dainuotų, tačiau vis vien dainuoja. Ir labai vykusiai, moteriškas vokalas. Šiaip daina nebloga, bet kiek per ilga. Viskas vyksta sklandžiau negu prieš tai buvusioje „Lost“. Vietomis trenkia popso klišėmis. Kas nėra malonu ausiai. Priedainis kažkaip įdomiai skamba, nevienodai ir nenuobodžiai, kur kas geriau, nei „Lost“ šiuo atžvilgiu, sakyčiau. Kažkur per vidurį – ramesnė dalis, fone kažkur giliai sintezatorius ieško būdų sukurti minkštą maloniai migdančią atmosferą. Pabaiga gal kiek pernelyg staigi...

Dvyliktoji, priešpaskutinė daina – dar viena gramatinė klaida pavadinime, et, bet tiek to, „Lets Spiral“, kuri jau priduoda pabaigos nuotaikos ir šiaip yra viena geriausių. Greitėjantys sintezatoriaus burbuliavimai, paukščių čiulbėjimas, kažkas liūdno ir gamtiško. Kai jau atrodo, kad tai bus dar vienas ritmenbliuzo triumfas, Rustie spaudžia liūdną natą ir nuotaika išsyk pasikeičia. Vėl tas pats kažko laukimas (ir nesulaukimas) kaip pirmose dvejose dainose. Pabaigoje viskas lėtėja.

Tryliktoji, paskutinė albumo daina – titulinė albumo daina „Green Language“ atskleidžia kita pavadinimo prasmę – tai paukščių kalba. Ir paukščių čiulbėjimas, sumaišytas su lėta, ramia bet vietomis niūria muzika, čia gražiai užbaigia šią kelionę, nors, kiek liūdnai. Atrodo, pagaliau išsivaduota nuo visų klišių ir tikėtinų elementų.

Kokios būtų išvados? Na, prisipažinsiu, kad, kaip koks vidutiniškas žmogus, aš, paskaitęs kai kurių žurnalų recenzijas, davusias šiam albumui varganus 2 iš 5 ir kažkiek panašiai, buvau nusiteikęs gana niūriai ir su nepasitikėjimu klausiausi „Green Language“. Didele dalimi mano apsisprendimą klausytis šio albumo apskritai lėmė tai, jog, kalbėdamas apie jį, Rustie, be viso kito, teigė, kad klausėsi ne ko kito, o tokių visai ne elektroninės muzikos grupių, kaip My Bloody Valentine ir (netgi) Godspeed You! Black Emperor. Vien dėl to verta buvo duoti šansą, kad pasižiūrėti, kaip, po galais, šiam neabejotinai talentingam prodiuseriui iš Škotijos galbūt pavyks suderinti tokius, regis, nesuderinamus dalykus, kaip dubstep ir IDM su shoegaze ir post rock. Ir, tiesą pasakius, nelabai matosi tos įtakos. Taip, didelis dėmesys feedback'ui ir reverb'ui jaučiasi ir kuria labai malonią, sakyčiau atmosferą. Bet tai yra nustelbiama gana stipriai į pop pusę orientuotais vokalais, iš kurių tik Redinho ir Danny Brown įsipaišo į visumą. Visgi, kelios dainos be balso yra pasakiškai gražios. Stipri ir labiau klubiniam gyvenimui tinkama „Raptor“. Pats prodiuseris teigė, kad po praėjusios, debiutinio savo albumo, „Glass Swords“, kuriame atseit išbandė viską, norėjo sukurti kažką „rimto“ ir nebe tokio juokingo, kaip prieš tai buvusiame albume. Atrodo, kad iki galo Rustie tai nepavyko, nors ir tiek, kiek pavyko pranoko mano lūkesčius. Stipriausios dainos – labiausiai keistos, o kitos kiek nublanksta ir nesukelia tokio stipraus įspūdžio iš karto. Apskritai, albumas neblogas.

Rustie:

https://soundcloud.com/rustie
http://rustie.net/
https://www.facebook.com/rustie666
http://twitter.com/rustie

„Green Language“ nusipirkti galima čia:

https://itunes.apple.com/gb/album/green-language/id891326497

https://bleep.com/release/52319-rustie-green-language

O štai albumo singlų video:

„Raptor“:


„Attak (featuring Danny Brown)“:
„Lost (featuring Redinho)“:

The "Green Language" of synth by Rustie

So, after a break, I'm back to present some of the last reviews this year before going into hibernation... Or maybe, into proper activity, who knows. This time my target is yet another genre I have recently been exploring – electronic music, and one of its finest modern producers, the Glaswegian Rustie (or Russell Whyte), who released his second album to date, via "Warp", on 25th August. It's called "Green Language", a term that means eiter the language of birds, or a recurring theme of the human mind, the idea, associated with Ancient myths, Medieval literature, Renaisance magic, that of a language that touches you directly, without the mind's interference and for Rustie himself, such a mean of communication is most certainly music. Hmm, a really ambitious goal, Rustie. But my personal interest in this particular album was mostly fueled by the producer telling that his influences were such unlikely, given he is a prominent electronic music name, as My Bloody Valentive and Godspeed You! Black Emperor, so the sole thought of mixing what he had made thus far, and this kind of music, far more familiar to me than electronic music, gave me a firm reason to listen to this album. So, what are my observations, you can read below.

The first song is called "Workship". It is a typical intro. Somewhere midway there is this slow-motion huge moment, with a slow yet powerful beat, sounds almost like Classical.

The second song is "A Glimpse". Birds sing forward and backwards with beautiful synth structures emerging gradually. It gathers strenghts by the way, with another slow beat. Mesmerizing and intriguing. It makes you feel like something is going to happen, when it never does.

The third song and lead single off the album, and the first song from it that I've heard is "Raptor". It starts off where the last song left, somewhere amidst glistening sounds, getting thicker, foot stomping beat is accompanied by punchy synth, it occupies your ears, then goes high, and then – low, while the synth somewhere above keeps doing twisting and turning, Rustie squeezes everything out of it, then we are given a break, where everything seemingly gets far from us, but then strikes again, with new force. Then the thing gets repeated. But then something what I'd call a guitar is running from left to right and from left to right while the bass underneath reaches Earth's center. The end is right there. Somewhere deep beneath.

The fourth track is called "Paradise Stone". One of the best songs on the record. Synths glistening somewhere far away, then comes the glockenspiel part, that indeed sounds like something Foals could come up with.

The fifth song starts a series of tracks featuring other artists, this particular track is called "Up Down" (featuring D Double E). Another Nature-immitating wave with pseudo-bird chants, that sound Tropical in the background. The "Up" and the "down" sounds litteral. Not bad, but not as good, as the previous songs.

The sixth song – "Attak" – follows, this time with input from Danny Brown. It has also become the second single off the release. It greets us with war trumpets, or their synth brothers. And there comes Danny Brown, who is on place and makes thinsg work better. However, at first, it seems he doesn't sounds as frightening. But later he gives some more serious input. The synth lead is really rad. When the bass goes deep and the synth is far more wicked than on the previous tunes... The whole production is interesting. The end is repetitive, but sounds as fresh as ever. Like the song cannot be annoying at all.

The seventh song is called "Tempest". One of the better instrumental tracks. With a guitar intro, that gets some modern electronic treatment later on. Nature sounds, it gently rolls, wonderful movement. The very end is awesome.  

The eight track is the grammaticall erroneous "He Hate Me" (featuring Gorgeous Children). Another track with vocals. It starts nicely, but the vocals spoil it all. It is interesting, but the music is far more interesting. The beat is almost not present. Acoustic rapping and synth? Strange track, after all. Sometimes the beat does appear to make it resemble a conventional electronic tune with rapping over it, but it gives little.

The ninth track is called "Velcro" and recently became the soundtrack for an "Adidas" commercial. Another fierce song. It starts off like a children's TV show soundtrack though. If not the aggressive beat and deep going bass... The contrast between the kind and friendly synth and the fierce beat is amusing.

The tenth song is titled "Lost" and features Redinho. The thirds single off the album, it presents some more human presence, this time in the form of singing. Some parts even sound emotional, but the hook sounds somewhat sleepy. The deep bass and beat helps not let you fall into hibernation. The songs sounds quite interesting, though occasionally slips to the pop swamp, that marks the end of most creativity nowadays.

The eleventh track is titled "Dream On". It actually, hmm, features vocals, this time, female, as well. And it doesn't sound bad, but, again, goes a bit too far into pop. The synth backdrop is cool, actually, and it grows and grows. The chorus is ambiguos, and in this it's beautiful...

The twelth song is called, again, with a grammatical mistake right in the middle of it, "Lets Spiral". It gives you the notion of the near end of things. Wonderful, but sad. It gets faster and faster, with some swooning synth. The bass hits some sad notes. Just like the opening track, this song sounds as something big's going to happen, but it never actually does. Not that it should have, actually.

The thirteenth and last song is the title track, "Green Language". It finally marks the proper end of the album, as the previous strack has already suggested that is is about to end. It presents us marvellous sites and birds singing. A relief after some of the rougher sides of the album. One of the best songs. It shows that Rustie if he wants, can do really bigger stuff. Piano with ambience. When you feel it is going to be ordinary, Rustie hits a sad note, that comes totally unexpected. And the mood instantly shifts then. That's what's wonderful about it, the track is so cinematic and challenging.

So, all in all, "Green Language" is an intriguing listen, that I've somewhat underestimated beforehand. Actually, the reviews I've seen before I even listened did not make me expect anything worthwhile, though, after all, the album produced a mixed reaction among critics. When listening to it, it actually sounds good. But it somewhat tries to do more than is capable of, or, to be precise, than is capable to do at the same level, as some songs are wiped out of your mind in a gust. And some, of course, stay there for some longer time. The need to produce hits with rapping and singing, of course, is understandable, yet in my opinion, the instrumental tracks far superceed anything else that is on the album. Interesting and attention-grabbing sounds, such as in "A Glimpse", "Paradise Stone" and "Green Language" are far bigger than the more accesible tracks. Of the tracks with vocals, only "Attack" can be said to cut it. Some places, perhaps because of the sole effect of well-produced vocals sound pop. Given the experimental aspects of "Green Language" and the depth of some of the songs, it is sad. Hard to say, why people think that a good electronic song desperately needs vocals. And people like Rustie are torn apart by the appeal for rapping and singing and the more intriguing sides of music. Perhaps I judge this album a bit too harsh, given that I was expecting something kind of different after reading about My Bloody Valentine and Godspeed You! Black Emperor being influences and the goal of creating a language that talks to you directly, avoiding the mind. How come you avoid the mind when I have to decipher the vocals? Apart from occasional feedback and atmospheric feelings, it's genuinely hard to trace any links to post rock or shoegaze. However, perhaps I should judge the album on its own terms. Then it is not so bad, actually – good. "Raptor" is one of the best tracks of the year. But the whole thing lacks that lasting effect that Rustie is capable of pulling off. Some things sound wonderful while some sound bleak.

Rustie:

https://soundcloud.com/rustie
http://rustie.net/
https://www.facebook.com/rustie666
http://twitter.com/rustie

Buy "Green Language" here:

https://bleep.com/release/52319-rustie-green-language


Videos from "Green Language":

"Raptor":


"Attak" (feat. Danny Brown):
"Lost" (feat. Redinho):

DISCLAIMER: this website doesn't feel friendly with "Spotify" and the like, thus I avoid it and do not provide any playlists that are not freely available (like in Soundcloud, Bandcamp or YouTube). How to listen to this album is your own problem :).

The Drums’ Very Own “Encyclopedia”

After a break I am back to writing lengthy album reviews. This time we finally get to the other side of the pond to take a look at the weird and bittersweet new album by the American band The Drums, titled “Encyclopedia”. It was released in September via Minor Records...

The Drums are an American indie rock band, currently formally consisting of only two people – best friends since age 12, multiinstrumentalist Jacob Graham and vocalist Jonny Pierce. The band emerged in the slumpy indie scene of Brooklyn in 2009 and quickly made their way into the spotlight with easy-going, relaxed dream pop/surf pop, bringing the summertime feels, when you're young, in love, and don’t care for tomorrow. Later on, they took a somewhat more serious look and more bittersweet lyricism with their sophomore album “Portamento” that was released in 2011. Channelling the sound of The Smiths, Joy Division, New Order and various other British and American bands, the band have been however presenting something unique and true. Nevertheless, after completing the last tour, they ditched all the members except for the founding duo of Jacob Graham and Jonny Pierce. As they state in their latest interviews, the two went “wild” to make a more open, more aggressive, more honest album. The album, called “Encyclopedia” sees the band depart from their (perceived to be) laid back attitude even more, and bravely diving into more experimental waters, or, perhaps, should I say, climbing up steeper mountains? Mountains, after all, are a recurring theme throughout this album. So, here we are, enough descriptions, let the music tell what matters the most!

First song is the one everyone first heard off the record – “Magic Mountain”, and it starts, actually, with weird delay and reverb tricks, then go the high-pitched vocals by Jonny Pierce. He fiercely sings the chorus, and after the first chorus, things go even wilder, with various electronic tricks here and there, then, well, maybe it is only me, but I was pretty much sure it is about to end, but, surprise surprise, here comes another chorus! Sounds, overall, like an experimental rock song. But is that bad anyway? There is this video, directed by The Drums themselves, and it is so good, you know that I enjoyed when Jack from TNP wore those costumes, so, here is Jonny in one, and even with a sword. Cool, really.

The second song, “I Can’t Pretend” is an easy favourite of mine off the album. Never-to-be-wiped-out-off-my-brain synth melody and kind of simple post-punk drums. The guitar only adds the emotion. The lyrics are just too much for me... “It’s too hard to begin, when you know it will end” – says Jonny. “And if you’ve got a friend, you better leave with him” – he continues. “I know that I need love, but I can’t pretend” – the central theme of the song. “Remember when you first touched my hand, we sparkled inside at the same time” – once again, could anyone ever say it better? Synth, nevertheless, does not let me get lost. And guitar helps to carry on this journey. I even have a hard time deciding, where is the chorus and where is the verse, it all goes in circles, then it all goes into swooning lands, even more electronics, and iconic words “I see us high, high on mountain, I see us die, dying on a mountain”. Soul-piercing, even though maybe too much electronics.

The third song – “I Hope Time Doesn’t Change Him”. It goes off with Kraftwerk-y synths, but then heads off to a more 80s sound. Bass and weird guitar, reverbed drums. Reminds me of MGMT. Warming feeling in the chorus. Maybe even like Joy Division. A very bass-dominated song, nevertheless. However, a bit too repetitive. But the warm synth in the end is so nice.

Fourth song – “Kiss Me Again”. Psychedelic wonder at first sight, then goes a bit more normal way. Very strange song, actually. With a dark undertone. Sort of reminds of The Smiths. Very post punk, with those 80s electronics. However, a frightening 60s vibe is here too. A lot of vocals in the end, layers upon layers of vocals, dive out of the electronic swamp. “Give it to me, give it to me, give it to me” and Jonny’s voice goes up. Creepy, to be honest. Perhaps the happiest song on the record.

And then comes song five, called “Let Me”. Very upbeat, fast. Very post-punk (again), very much like Joy Division, but with a more modern take on electronics. Very dark, the chorus is very energetic yet horrifying. “And they might hate you, but I love you” – says Pierce in a bittersweet tone. “Let me, let me see who you are” – he adds. Reminds a little bit of “Money” in the end, but this is more diverse. The bridge is all-electronic, vocal samples here and there. The song is perhaps the most anthemic of all on this album, carrying a strong and distinct message, being about sex change and homophobia. Vibrant and squeezing. That deep boiling synth. One of the better songs on the record, yet dark.

The sixth song is “Break My Heart”. Nice drums, The Drums! Reverbed synth in the distance. “Break my heart, break my heart, break it and make it hurt”, old school pop, a bit more cheerful, soft bass, compared to the post-punk-y songs before. Comparing to “Let Me”, it is very slow and hushed. The music might even sound happy, if not cheerful, but lyrics prove it wrong. The end is very MGMT. Oh, I’m pathetic for comparing bands!

The seventh song is called “Face Of God”. It is again fast. Guitar work. Very post punk after all (again and again). Angry lyrics and that bass. Reminds of something so familiar, yet not to be remembered. Maybe that is how originals are. Sounds like desperation, smothering you. Dark feel. Jonny takes on his atheistic standpoint, following the likes of Nietzsche. “I saw the face of God, he told me how to live, I threw it back at him, threw it back at him” – declares Pierce. By mentioning God, after all, he seemingly means his father, a pastor. Hard to imagine the same band playing so different things, like dark guitar-led songs, like this, and mellow synth-driven songs. Reminds me of “Insight” or “Interzone” by Joy Division, quiet rage. 

The eight song is titled “U.S. National Park”. A bit of a return to the early sound? Or am I mistaken, well, maybe... Nice interplay of guitars, warm. Even the vocals, just like on “Hope Time Doesn’t Change Him” remind me of MGMT. “I don’t want to die alone by the campfire”, yeah, very cheerful indeed. Even weirder – it sounds very happy, the approach of The Smiths – sweet tunes and dark lyrics. Reminds me of childhood. Those quirky moments in it.

The ninth song is “Deep in My Heart”. It is fast and strong again. Sounds a bit like new Interpol, post-punk revival. There is a tendency – after a fast song comes a slower, more pop one, and then we go again with a harder take. "I buried you deep in my heart" – sings Jonny in the chorus, this song somehow is one of the most relatable for me. Reminds me of their early songs.

The tenth song is called “Bell Laboratories”. Lonely synth notes. Add a beat now. Sounds refreshing after the last song. Nice guitar and deep bass. Even piano here, wow. The song becomes more and more full. Beautiful and simple guitar. Weird, but wonderful guitar. Repetitive lyrics, “Get back in my car, get back in my car, get back in my car, but I ran so fast”, mumbles Jonny, they kind of make me think of a of a story, when one says to another that text, and the other tries to run away. Once again, marvellous, as experimental as the opener, I should add. A dark, deep song, really stands out.

The eleventh song is called “There is Nothing Left”. It is warm, sweet, yet with extremely dark lyrics, however. Synth bass. Awesome guitar at the start. Sounds a bit 70s or 80s. A bit like "I can't pretend". The end is unexpected with some deep beats. The Drums avoid being boring, when there is such a risk in the air somewhere.

The last song, “Wild Geese”, starts with synths, then goes the beat and the bass, a lot of bass. Once again, this song is as emotional, as any The Drums song ever. The start, to go on with that Joy Division comparison, one could think of “Decades”, but soon, this song appears to be radically different. Perhaps, the most poetic song of all, surprisingly enough, it has been written not by Jonny, who usually writes all the lyrics, but by the other half of The Drums, Jacob. Soul-piercing to say the least. So simple, yet so emotional. “I put my hands inside my pockets and wish that I were them” – this here is what I always feel like! “But if you stay close to me, like wild geese, that fly through the thunder” – so wonderful. A long instrumental part. And, to end the record on a higher note, here are some synthesisers. Nice way to end.

So, what can I say, after one listen? The album is really interesting, emotional, warming, yet thoughtful, the kind of art, that reminds you of yourself a bit, not to sink in and forget, but to relive your experiences maybe looking at it through a different lens and to imagine yourself as someone else. The lyrics and especially the music gives so much feelings, like an encyclopedia, but maybe that is because they said it should? You turn the pages, and new things emerge in front of you, like when I was a child and I loved to read encyclopedias, waiting for the next pages, what will it show me? Some songs though come off a bit too reminiscent of something already heard, a bit too many old ideas, even though presented with new things. I guess, the reason why people tend to discard this record, is the same reason, why so many thought the latest album by MGMT came off a bit flat here and there, as it did not have “Kids” and “Time To Pretend”, and, in the case of The Drums, no summer feelings and light nostalgic breeze. But who would blame Talk Talk for “Laughing Stock”? Not that I am comparing this sort of shift to the changes in The Drums, but still. But, well, maybe one ought to listen with no preconceived categories in one's mind, like “oh, The Drums, so, surf rock, indie pop”, then it would not be so disappointing? It is sad, that people tend to categorise things so heavily they miss the point of the music itself by measuring everything every single moment against a yardstick they have put hope into. My fault in this review is, again, building my conclusions on genres and constantly checking what I hear with what I think a certain type of music most often sounds. But, I think, it is somewhat a wrong approach, as music is not that easy to understand. Of course, one needs some reference points if one is to write about music, one needs to be aware of the past and so on, but maybe we go too far with those comparisons? Maybe, who knows. Overall, this album is warming and comforting, not empty. Not shallow, but somehow it is a bit closer to us, listeners, than previous albums by The Drums. Maybe, with regards to categories, we should stop calling The Drums “surf pop” or something like that and take them for who they are? They are far more.

The Drums:

https://soundcloud.com/minorrecords 

http://www.facebook.com/wearethedrums

http://www.thedrums.com/ 

http://www.twitter.com/thedrumsforever

Get “Encyclopedia” here:

https://itunes.apple.com/lt/album/encyclopedia/id901741424?ign-mpt=uo%3D4

Listen to singles “Magic Mountain” and “I Can’t Pretend” here:

https://soundcloud.com/minorrecords

Or listen here:

AeTrees Presenting... Blaenavon

So, after this kind of longish break, I'm back to presenting you new and impressive music! This time the props go to a really young British band Blaenavon (the name is really not easy to spell and, furthermore, I'm not quite sure how to pronounce it anyway...) from Hampshire. Their music can be described as, well, what a surprise – indie rock. Yet, you know, if it was just indie rock, I won't bother listening or doing research for this article, leave alone writing it at all. Blaenavon have their own strange brand of Foals – and other British indie bands-channelling sound, always ready to lean the other way than it's expected to.

In this episode of "AeTrees Presenting..." I'll not only tell you what you ought to know about these lads who call themselves after a Welsh town, but as well give my account of their (only to date) EP, "Koso", released in 2013 via Transgressive. Just as last time, I don't want to do a full-lenght review, rather wanting to write the story of the band, as, well, they write in their Soundcloud that they are "3 boys with a story to tell", so, here you go!

Blaenavon is a three piece, consisting of vocalist/guitarist Benjamin Gregory, bassist Frank Wright and drummer Harris McMillan. All three are still really young – about eighteen years old by now, but that isn't a big thing these days, I guess, as long as you manage to make your name effectively. As stated in multiple interviews, Blaenavon came to be when Benjamin Gregory was learning to play piano and his teacher suggested the bassist Frank Wright to make a full-range cover of Muse's "Knights of Cydonia" happen, what apparently needed some bass, and the drummer McMillan lived nearby and soon would join the two. Since then the band changed their name a few times, now caling themselves as they call themselves. It would be suitable to mention here that Blaenavon exemplify so really weird traits in their sometimes funny, sometimes intriguing, sometimes toe-curling interviews. As for now the band is together for about five years, slowly developing their own style, what finally made the single "Into The Night" appear in early 2013. Thunderous drums, high pitched guitars and reverbed vocals, superb guitar solo, somehow reminds me of Two Doors Cinema Club and Everything Everything. However, it already manages to blend various aspects of modern indie. That single also features "Denim Patches" is a complete anti thesis to "Into The Night" – a quite and subtle song with drums coming in only near the middle of it, leading to a Foalesque yet unexpected  break with heavy drums, that promises a huge explosion, but instead is melancolic and soul-piercing. Before and after that, the band played a few shows in London as well as a bunch of shows elsewhere and somehow secured a deal with the Transgressive label for their debut EP.

The EP, titled "Koso", was released last September, featuring, however, only 4 tracks. My personal favourite and the first song by Blaenavon I've ever heard, is "Wunderkind". It slightly reminds you of Foals, but, well, goes in a different direction, evoking deep emotions with mumbled vocals and careful guitar work, accentuated drums and subtle bass, and, where Foals would probably go for a massive mess, Blaenavon go all quiet, stripping the song down to an almost a capella singing part with a few guitar touches, yet, I have to say, it is even better than you'd expect – an eerie, utterly touching piece. Besides "Wunderkind", "Koso" features the opening track "Gods", which goes like a, hmm, typically British song in the best of meanings, with haunting vocals and Foals- and Bombay Bicycle Club-channelling music, and in the end it goes slightly further that decent indie would go with the guitar getting louder and stuff heavier. Basically, except for track two, the aforementioned "Wunderkind", this one sets a direction where the whole thing is heading towards. Then – track three is "Prague" (let's go geography, may I say), which follows the Blaenavonish structure and sound, and this time goes into even more swirlling and screaming (literally) territories with heavy strumming and gigantic drums. The closer "Lost In Paris" goes in a similar direction, though being a more nostalgic take, in this- somehow reminiscent of the opening track, more bass, more drums. Benjamin Gregory sings the same words in all possible ways you could imagine it to be possible, nostalgic and warm, and if you wouldn't be informed either by their SoundCloud account photo either by some kind of reading that the band is still merely in school, you'd have to conclude it being a work of someone in their thirties to say the least, both because of the mature and deep voice of Benjamin and the relaxed, not-putting-in-too-much-stuff attitude of Blaenavon, compared to their peers or slightly older bands. Still, my personal opinion is that Blaenavon are at their best when they are slow and quiet, hence "Wunderkind". Then at least to me it feels like I've found something new and evoking, original and fresh. Other songs take more conventional paths, though aim at the best. But the conventional "indie rock" is such a vague and at the same time strict concept, that whatever bands like this come up with it is almost always bound to sink in the noisy waters of the so-called "indie rock" context. However, something gives me hope they'll not lose their path and go their own way and on their own terms. In that way, Blaenavon is really going to be a proper band. I consciously do not say "big", because, well, it is sad if you aim to be "big", but not "good". I think these three boys will be ready to tell their story one day...

Good: the nostalgic feel of "Lost in Paris", the eerie air in "Wunderkind"

Bad (sort of): the rather weird way of presenting themselves, frightening scream in "Prague"

Blaenavon:

https://www.facebook.com/blaenavonmusic
http://www.blaenavon.com/
https://soundcloud.com/blaenavon

Buy "Koso" here:

https://itunes.apple.com/gb/album/koso-ep/id684098355

Or listen to it ad infinitum via the band's Soundcloud, that can be found here:

https://soundcloud.com/blaenavon

Some of the most, erm, interesting ever interviews by Blaenavon can be found here

AeTrees Presenting... Without Letters

So, if you got a bit bored waiting for a new review, well, I have something to say to you. Here's my new project – some place for new bands that are starting their career and are yet to have a full-length release (well, I don't promise you I'll strictly obey this rule). I hope, that this article is not the last and there will be more to come soon. That is it for introductions, now let us see, what is this article actually about.

Today I present you, for the first time ever and maybe the last, though I hope no, a band from my home country, Lithuania, even from my home city, Vilnius, a stunning electronic and rock music mixing five piece Without Letters. The band, that was founded in 2008, currently consists of guitarist Adomas Narkevičius, another guitarist plus keyboardist and occasional vocalist Jonas Denapas, bassist Artūras Barkus, drummer Karolis Valiauga, who joined the band in 2012, and the Error Broadcast signee Miša Skalskis, better recognised as 96wrld, however for now his place in the band is taken by another electronic music producer, Tomas Narkevičius, also known as Fingalick. The two latter musicians, better known on their own than with the band, joined later in Without Letters' career, while Algirdas Tiuninas, the original vocalist, left in 2011/2012. So, the band started slowly and already then, perhaps, showed their original approach to work – queit and meticulous. In 2010 they debuted the song "Ausgeträumt" as part of a film, which received some attention in a few film festivals. The early Without Letters, though channelling some present day indie trends and following in the footsteps of bands such as Foals, added a sprinkle of math rock, noise rock, electronic bits to give a distinct feel to it. As well as Foals, they cited Battles as an inspiration and such acts as Mount Kimbie, so, collecting from such varied fields, they managed to serve something unique. In the end, the song was rather evoking and not as dull as it may seem now, given the eventual evolvement of the band. After a year, two more stand-alone singles came out, "Awake/Asleep" and "Shelter Gone", both receiving music videos, that use footage of old films, both music videos made by the guitarist Narkevičius. The former of those songs was originally tagged as "weird pop" on the band's Soundcloud profile, yet it is far from anything pop, if you look closely, while in fact being the most accessible song the band has ever released, it never ceases to evoke new unforeseen feels and show new views. The latter, in my opinion, is the best Without Letters song on the whole. The beautiful soundscapes and haunting vocals are perfectly suitable for each other with some marvellous guitars added. However, this came to be the last song of the band to feature vocals...

Then came the turning point – the band shifted from indie rock to exploring the green fields of electronics, leaving aside vocals and straightforward guitar playing, whilst picking up new additions to their growing nature. Though regularly playing gigs, Without Letters had not released anything for two years. In early last year, they stepped over the boundaries of Lithuania to play the acclaimed Tallinn Music Week as well as to play the Positivus festival in Latvia. The band met more and more critical acclaim, first of all, for their distinct and unmatched style and not being a sort of mere copy cats, what is rather casual in our country. So, as a person, who never went to a gig, all I can tell is from their magnificent performance on "LRT Opus Ore", a live performance in studio on the national radio and TV broadcaster, airing live on the national radio's third program and then shown on TV, a sort of Lithuanian "From the Basement". Without Letters performed nearly all they have, playing two covers as well. The wonderful performance really was something to see, in my opinion. Already while touring and performing for "LRT Opus Ore", Without Letters were in the process of making their debut EP, that was released on the 7th of May this year and is weirdly titled "Self-titled", well, witty lads... To my disappointement, it only features 4 songs plus two remixes. Well, the approach of the band seems rather strange to me, but it is their nature to be meticulous, hard-working and aim at quality, not at quantity. This is what places them apart from most of the bands in our country. This kind of seriousness and respectability, that reminds me of These New Puritans. While generally indie rock finds its way through drunk parties and wild gigs... So, Without Letters are these serious heroes, who don't talk, but show, what they have got. This year already had enough highlights for them for most bands to be content with- playing Tallinn Music Week for the second time, supporting Mount Kimbie in Riga and Vilnius, and many more still to come, as well as the premiere of another video directed by the guitarist Narkevičius, this time he got original and interpreted the band's mixing nature, erm, very literally, but what is the result is perhaps the best music video I have seen this year on the whole. So, here we come to the last part, dedicated to "Self-titled", because the video is for the lead single off the release, "Arch".

"Self-titled" EP, however, features only 4 songs, and it's concepts, as well as the "Arch" video concept, is something to talk about. The band, from the very begining desperately avoiding being copy cats, now faced this task seriously – as they say, this EP is not a use of a superficial and already produced aesthetic, but rather a try at re-living the mind-sets that started some genres of music, mostly some electronic music genres, and, even more, the four songs represent an attempt to merge rock music/guitar music with four different styles of electronic music. Wait, wait, wait, what? This is a kind of peculiar approach, that I have rarely encountered, if ever, actually. What I felt, reading this, was that the band kind of come across as snobs. The pretentious way of explaining a meaning, allegedly not accessible to the multitude, well... But, do not get me wrong – to be pretentious, when you are worth it is cool. And they are worth being who they want to. Even standing alone, Without Letters are being compared to the likes of electronic music, indie rock and post rock, as well as even psychedelic rock, people spend hours like archaeologists, digging and trying to find out where is there the trace of which genre or style of electronic music. I won't try to do this anyway... The EP starts with a song, called "ZR0", which itself starts with rather striking bubbling and bleeping electronics, then finding its way into the indie rock section, adding some kind of shouts and exclamations, while the guitar reaches unexpected heights. The funny fact is, that there is a song by 96wrld, called "Bruce Willis", that is almost the same, just more straightforward electronic, furthermore, as I want to make my point that Without Letters remind me of nothing as much as of Radiohead, it would be suitable here to note, that this relationship between songs reminds me of "Reckoner" and "Pulled Apart By Horses": those songs are basically the same, but sound completely different. So, this was entertaining and cool. The second track, "Inverted Cycles", too starts with the sample-heavy electronic intro, while finally moving on to conventional indie, while always ready to throw some electronic snow ball at your face, while you laze in the bliss of riffs, that are so evoking and emotional and are no less grabbing than any indie rock, that is really much more popular than this band. This song is the best off this EP, in my opinion, and is the second best on the whole, runner up to "Shelter Gone". The third track is the already aforementioned "Self-titled's" lead single "Arch". Delay and delay, with some crunchy guitar sounds, then some more guitar riffs, but always a hint of electronic music, and a psychedelic ending with some feedback. Nice IDM paced track as well. But, well, as I said, the feedback, so, the feedback actually makes it to the next track, "Night at Palm Peaks". Suddenly there is a change and some fragile bleeping electronics here and there. Some more strange riffs and a certain tired sadness. The end is wonderful. Yet this song is a bit slow and sleepy, though presenting the best drumming on the EP, after all. So, after all, "Self-titled" is a fine debut, however it might have been longer and have had more tracks, but maybe that is the way Without Letters approach their tasks- they look like perfectionists to me, actually, and never act, as expected. The remixes do sound good, but I am poor at this so I have not so much to say about them, 96wrld's remix of "Arch" , however, is rather long and not so interesting, and Napo's, who is another bright Lithuanian electronic music youngster, named Leonas Rėčkus, remix for "Inverted Cycles" is really nice, even though succumbing to those plain and boring club appealing pop sensibilities carried electronics. But it ends on a high note, ending the album.

My personal comparison, if there is still room left for comparisons, is, as I have mentioned previously, Radiohead. Especially the electronic music using "The King Of Limbs" era Radiohead, not the exact sound, but the aesthetics, the understanding, the approach to music writing. While Radiohead remained in bounds, Without Letters sneak behind any bounds, yet always stay original and unique. This originality is what is so similar to Radiohead, what means, that the Vilnius natives stay true to themselves, while experimenting with whatever they find on their path. Given their approach to work and original aesthetic, starting with strange videos, ending with the way they present themselves, the way they released the EP on vinyl and much more to add, Without Letters are a promising band really worthwhile to listen, perhaps the best in Lithuania. Yet they lose sometimes, compared to acclaimed acts from abroad, but they, in their country, are on a different level, and present things never seen in our country.

Good things: the soundscape in "Shelter Gone", the soul-piercing riffs in "Inverted Cycles"

Bad things: the boring part in "Night at Palm Peaks", the snobbish way of presenting their style

Without Letters:

https://www.facebook.com/WithoutLetters
https://soundcloud.com/without-letters
http://withoutletters.bandcamp.com/

Buy "Self-titled" here:

http://withoutletters.bigcartel.com/product/self-titled-ep
http://vinylshop.lt/without-letters-self-titled-ep
http://withoutletters.bandcamp.com/

Or listen to it here:

http://www.withoutlettersep.com/
http://withoutletters.bandcamp.com/ 

AeTrees pristato: Without Letters

Kad nenuobodžiaučiau nei pats, nei skaitytojai nuobodžiautų, nusprendžiau sukurti naują rubriką. Joje supažindinsiu su įdomiomis grupėmis, kurios dar nėra išleidusios albumus ir tik pradeda savo karjerą, bet yra vertos dėmesio. Nežinau, kiek užteks mano resursų apie tai rašyti, bet, be šito straipsnio, manau parašysiąs dar porą. Tiek pristatymo.

Šiandien pristatau pirmą grupę, kuri kartu yra pirma istorijoje lietuvių grupė, apie kurią rašau- vilniečiai Without Letters. Kadangi pradžioje galvojau rašyti jų debiutinio nepilno albumo su gudriu pavadinimu „Self-titled“ (angl. k. to paties pavadinimo, kaip ir pats, kitaip tariant, taip muzikos žurnalistikoje įvardijami albumai, besivadinantys grupės vardu...) recenziją, bet, visgi, nusprendžiau, kad jis kiek per trumpas tam, be to, būtų įdomiau grupę įkomponuoti kitokiame kontekste. Taigi, čia pristatysiu pačią grupę ir jų kūrybą. Be to, neapsieisiu be trumpos jau minėto EP recenzijos.

Grupė Without Letters susikūrė 2008 metais, o aktyviau darbuotis kūrybos laukuose pradėjo 2010-aisiais. Ilgai brandinę kažką, matyt, iš pat pradžių sudėtingo ir naujo, grupė, kurios pagrindą sudaro gitaristas Adomas Narkevičius, gitaristas/vokalistas/klavišininkas Jonas Denapas, bosistas Artūras Barkus, o tuo metu – dar ir vokalistas/klavišininkas Algirdas Tiuninas, pasirodė originaliai ir keistu, sakyčiau būdu: jų debiutinis numeris „Ausgeträumt“ (vok. k. būsena tarp budėjimo ir miego, plg. toliau minimą kitą dainą) pasirodė filme tuo pačiu pavadinimu („self-titled“, cha). Taigi, jau gana keistas, bent jau mano požiūriu, būdas prisistatyti. Pati debiutinė daina buvo gana paprastas indie rokas su plonu elektronikos notion'ų sluoksniu. Kaip visuose ankstyvuosiuose interviu jie kalba, juos įkvepia ne vien banalus indie rokas, kurio pilni pakampiai tiek 2010-aisiais, tiek ir 2014-aisiais, bet math rokas ir Foals bei Battles. Pirmieji mano jau išsamiai pristatyti anksčiau, antrieji – kiek tradiciškesnė, matematine prasme, grupė iš JAV. Po metų sekė dar du singlai – „Awake/Asleep“, kuris ilgą laiką jų „Soundcloud“ profilyje puikavosi savotišku „weird pop“ tag'u, bei „Shelter Gone“, kuri tapo paskutine daina, bent jau oficialiai išleista, su vokalistu Tiuninu. Taigi, jei pirmoji daina turėjo į mases apeliuojančio paviršutiniškumo, nors net ir čia Without Letters sugebėjo išsisukti nuo, rodos, neišvengiamos pareigos sukurti pop hit'ą, tuo tarpu antroji daina nurodo į gilėjantį požiūrį į muziką, o gal, paprasčiausiai, skamba tiesiog jau originaliau. Apskritai, iš karto sakau, jog, asmeniškai man, „Shelter Gone“ yra absoliučiai geriausia Without Letters daina ir apskritai, net bendrajame kontekste to, ką klausau, ji atrodo savita ir originali. Vėliau grupė kuriam laikui pritilo, nors ir koncertavo Lietuvoje, o nuo pernai ir užsienyje, tačiau naujų dainų ilgai neleido. Galiausiai, rado ir nuolatinį būgnininką Karolį Valiaugą ir papildė savo gretas perspektyviu elektronikos prodiuseriu Miša Skalskiu, žinomu, kaip 96wrld. Būtent jam grupė dažniausiai skiria visas liaupses už savo posūkį nuo paprastesnio (bet, pasakysiu, ne prastesnio...) indie roko prie kažkokių naujų įvairių žanrų horizontų. Nuo tada Without Letters tapo beveik išimtinai instrumentinės muzikos atlikėjai ir vokalų jiems prisireikia nebent atliekant jau minėtas senas dainas arba galingą mano mėgstamiausios grupės These New Puritans ankstyvos dainos „Infinity Ytinifni“ cover'į, per kurį bosistas, kaip Thomas iš TNP, groja būgnais, o Denapas dainuoja. Verta paminėti ir tai, jog grupė gyvuose pasirodymuose dažnai, atlikdama jau minėtas ankstyvąsias dainas, naudojo (nežinau, ar tebenaudoja) buvusio vokalisto balso sample'us, na, keista...

Galiausiai, čia pereiname prie dabartinio jų veiklos tipo. Without Letters, ilgą laiką tyliai dirbę, pernai ne tik atstovavo Lietuvą prestižiniame „Talinn Music Week“, bet ir debiutavo „Positivus“ festivalyje Latvijoje, kur traukia ir mūsuose neregėtos žvaigždės. Be šitų, būta ir mažesnių pasirodymų. Bet, mano galva, didžiausias ir svarbiausias buvo pasirodymas gyvai „LRT Opus Ore“ studijoje pernai spalį. Negaliu nepridėti, jog šis lietuviškasis „From the Basement“ yra be galo įdomus ir nuostabus projektas, parodantis šiaip jau retai matomą lietuviškosios muzikos veidą. Taigi, „LRT Opus Ore“ studijoje Without Letters sugrojo beveik viską, ką turėjo ir tai padarė puikiai. Kadangi koncertuose nesilankau, tai buvo vienintelis būdas pažiūrėti, kaip ši grupė atrodo gyvai. Gerai atrodo, sakyčiau.

Tuo pat metu, grupė, kurioje į Olandiją studijuoti išvykusį Mišą Skalskį pakeitė kitas žymus lietuviškosios elektronikos prodiuseris Tomas Narkevičius, arba Fingalick, sukūrė ir debiutinį EP jau minėtu pavadinimu. Tiesa, turiu pasakyti, kad mane šis EP nuvylė vien tuo, jog, tiek laiko kuisiantis, tebuvo išstenėtos 4 dainos, prie jų dar kažin kokiam galui pridedant du remix'us. Belieka spėti, jog grupė – tikri perfekcionistai, nepaliekantys kažko neištobulinto iki negalėjimo. EP, kuris išėjo šių metų gegužės 7 dieną, Without Letters išleido net vinilo formatu, kas šiaip jau stebėtina Lietuvoje, be to, išleido patys, išleido kokybiškai, „savipakankamai“, pavyzdžiui, dainos „Arch“ vaizdo klipą sukūrė pats Adomas Narkevičius, albumą prodiusavo Miša Skalskis ir t.t. Galima teigti, jog ši grupė labai vertina kokybę, nesismulkina, užsiiminėdama bet kuo, grodama bet ką, bet kur, tuo rimtu, solidžiu požiūriu jie man primena These New Puritans. Vilniečiai nėra dar viena iš tų grupių, kurios vien tik groja „tūsuose“ ir tai, kas dera girtiems paaugliams klausyti, jie – Without Letters, – dirba rimtai, nuosekliai, lyg žinodami, ko siekia, ko nori, kur eina. Be to, šiemet jie ir vėl pasirodė „Talinn Music Week“, o vėliau netgi grojo su gana žymia grupe iš Anglijos, nekasdienės elektronikos kūrėjais Mount Kimbie. Taigi, Without Letters per kelerius metus pasiekė tikrai daug, nors, aišku, galėjo seniausiai išleisti 5 menkaverčius EP, o gal net vieną LP, bet kas iš to? Jie dirba kokybiškai ir nesišvaisto.

Dabar apie patį jų nepilną albumą keistu pavadinimu „Self-titled“. Šiame, išties NEPILNAME, albume, yra viso labo keturios dainos. Kaip nuolat nepavargsta teigti grupė, jie ne šiaip sau kopijuoja kokį nors vieną stilių, bet – čia įdomiau – bando atrasti tas šaknis, iš kurių vėliau išaugo muzikos stiliai, ypač elektroninės muzikos žanrai. Dar labiau, Without Letters skelbia: kiekviena daina šiame nepilname albume yra indie roko mišinys su vienu elektroninės muzikos žanru. Na, kadangi aš nesu elektroninės muzikos ekspertas ir mažai ją pažįstu, net bijau spėti, kur koks žanras ar stiliaus užuomazga. Tačiau, man nesinori, kaip savaime suprantamą, priimti prielaidą, esą Without Letters yra „elektroninės ir roko muzikos grupė su post roko, math roko ir psichodelikos priedais“, ne. Tai skamba perdėm abstrakčiai ir nuvalkiotai, be abejo, geriau negu pretenzingai teigti, kad esi anapus žanrų, kaip Friedrichas Nietzsche anapus gėrio ir blogio, tai gali pasirodyti snobiška. Be abejo, kai esi toks, kaip Without Letters, toks snobizmas tau leistinas. Asmeniškai man sukilo įvairiausių asociacijų, lig tol neapgarsintų, pavyzdžiui, Radiohead. Ne vien krautrockas a la Can, bet ir post rokas, kaip pas Bark Psychosis. Kalbant apie dainas, pirmoji, „ZR0“, prasideda radikaliais elektroniniais burbuliavimais ir žaidimais pačios dainos sample'ais, pirmyn ir atgal, aukštyn ir žemyn, o paskui prasiveržia tikrai didžiulė energija ir augantis ne tai Foals, ne tai Jonny Greenwood'ą primenantis gitarinis triukšmas, apskritai, tai tiek elektroniška daina, kad, išskyrus šį gitaros triukšmą, roko užuomazgų sunku ir beaptikti, beje, įdomu, kad pirmą kartą šią dainą išgirdau, kaip jų kolegos 96wrld dainą „Bruce Willis“ (taip ir nesupratau, kurių galų ji taip vadinasi), kurioje ši daina arba jos dalis skamba instrumentus pakeitus vietomis ir be galo kaitaliojant įvairius garsus joje. Net nežinau, kuri man labiau patiko... Bene agresyviausia ir aštriausia grupės daina. Antroji daina, asmeniškai man yra veik tokia pati gera, kaip „Shelter Gone“ apskritai grupės kūryboje, tai – „Inverted Cycles“. Pradžia, kaip visada migdanti elektronika, kol galiausiai išsiveržia į gaivų orą tikras paprastas indie, na, ne tiek indie, kiek gitara, čia yra toks momentas, kuris be galo primena Radiohead vėlyvąją kūrybą, ypač dainą iš albumo „The King Of Limbs“, „Morning, Mr. Magpie“, bet čia pat tėškia visai ką kitą, gudrus elektronikos ir gitarinės muzikos lydinys, stiprus rifas, kuris nepamaišytų ir dideliems indie roko gigantams. Iš visos naujausios Without Letters kūrybos ši daina vienintelė man skamba labai emocingai ir nuoširdžiai, kažkaip liūdnai net. Čia jie vėl sukuria tą keistą savotišką atmosferą, kurios net nėra su kuo palyginti. Kita daina, jau minėta „Arch“ skamba kiek įprasčiau, negu kitos, bet ir čia yra vietos elektronikai ir rokui susimaišyti. Beje, apie kokteilius, mišinius ir mikserius – vaizdo klipas yra išties bene originaliausiais mano matytas šiais metais apskritai, neišskiriant nė užsienio atlikėjų, o tai, kaip pats Narkevičius aiškina klipo idėja, verta atskiros diskusijos, bet gal jūs patys pažiūrėkite šį keistą klipą. Ketvirtoji ir paskutinė (grupės) daina, „Night at Palm Peaks“ vėl grįžta prie klampesnės elektronikos, nors prasideda tikrai didžiai, ir skamba bene psichodeliškiausiai iš viso „Self-titled“ albumo. Tiesa, ji kiek migdanti ir niūri, kaip kartais gali atrodyti, tiesa, pristato puikų būgnų grojimo pavyzdį ir ambient garsą. Na, o paskui seka du remix'ai – 96wrld dainos „Arch“ remix'as bei dar vieno perspektyvaus prodiuserio Leono Rėčkaus, arba Napo, dainos „Inverted Cycles“ remix'as. Pripažinsiu, nesu remix'ų fanas apskritai, tačiau pastarasis skamba kiek įdomiau, nors ir nusileidžia į klubinės elektronikos pelkę, o nepilną albumą užbaigia gražiai, keistais garsais. Apibendrinant, EP neblogas, tačiau gaila, jog grupė nerado būdų, noro ar dar ko pateikti didesnį skaičių dainų. Galbūt trūksta įvairovės, kita vertus, tiek keisčiausių garsų vienoje vietoje... Pabūsiu nepopuliarus ir pasakysiu, jog norėtųsi vokalo. Galima tik įsivaizduoti „Inverted Cycles“ ar „Arch“ su kokio Thomo Yorke'o ar panašiu vokalu. Be balso šios dainos neišnaudoja savo potencialo, sakyčiau, kita vertus, sunku rasti tinkamų žodžių, kurie nesugadintų sukurtos atmosferos... Bet, gal čia DAR VIENAS grupės sąmoningo plaukimo prieš srovę epizodas? Juk visi žino, jog dainos su žodžiais ir dainavimu yra lengviau įsisavinamos, tuo tarpu instrumentinė muzika daugeliui atrodo nuobodi. Negali apkaltinti Without Letters nuobodumu, o pirma ir paskutinė EP dainos net sunkiai įsivaizduojamos su vokalu. Visgi, norėčiau ateityje išgirsti ir naujų dainų žodžių, kurie būtų tinkami tokioms keistoms ir originalioms dainoms. Bet, po galais, lendu ne į savo daržą! Visgi, be visų elektronikos ir ją su roku derinančių grupių, dariusių įtaką šiems vilniečiams, man atrodo paskutinė ir Radiohead (neteigiu, jog darė įtaką), išties, galima įžiūrėti panašumų, ne tiek garso, kiek estetinės prieigos, požiūrio į muziką, be to, dažnam ši grupė asocijuojasi su „O.K. Computer“, visgi, čia turiu omeny šio amžiaus Radiohead kūrybą. Arba, tęsiant Thomo Yorke'o asociaciją, kita jo grupė – Atoms For Peace, tiesa, ten daugiau elektronikos ir skirtumai akivaizdesni, tuo tarpu Radiohead būna ir subtilūs, kaip ir Without Letters šiame nepilname albume... Tačiau, apskritai, gal net neverta ieškoti, kaip akis išdegus, asociacijų, įkvėpimo šaltinių, kas ką primena, juk nei Without Letters pasišovė kopijuoti ką, nei eksplicitiškai primena kažką. Bet, net ir užtikęs nematytą dalyką ar daiktą, paukštį ar gyvūną, žmogus instinktyviai ieško ką jam tai primena. Matyt, kad ramiau jaustųsi. Bet juk kažkaip atsiranda tas, su kuo paskui visi kažką lygina... Man atrodo, kad ši grupė yra būtent tai.

Gerai: stingdantis šaltis „Shelter Gone“ garsovaizdyje, gigantiški rifai „Inverted Cycles“ dainoje

Blogai: nuobodus epizodas „Night at Palm Peaks“ dainoje, pretenzingi pasisakymai apie savo muziką

Without Letters:

https://www.facebook.com/WithoutLetters
https://soundcloud.com/without-letters
http://withoutletters.bandcamp.com/

„Self-titled“ galite įsigyti:

http://withoutletters.bigcartel.com/product/self-titled-ep
http://vinylshop.lt/without-letters-self-titled-ep
http://withoutletters.bandcamp.com/

Arba paklausyti:

http://www.withoutlettersep.com/
http://withoutletters.bandcamp.com/

Dare to be overewhelmed!

So, starting off, sorry for putting even two puns in one title, could not help it! But, I guess, most of you think where are those puns and to what do they refer? Alright, in a moment, but first a short story. Last year had me starting to read more about music, and find some pleasure in finding new, little-known bands and artists, basically, to show off, alright, to listen too. That was very interesting for me (and still is), and it was one of the first times, I'd go searching for new sounds, a sort of band-hunt in the hipster sense, that I'd find a young artist, citing Radiohead as his influence and playing the piano. So, it actually was Douglas Dare, originally from Bridport, South West England, who had studied music in Liverpool, and is currently based in London. And he had just released a single, titled "Lungful". From his debut EP "Seven Hours". So, I had to listen, as I was intrigued by what I'd read, so, I listened, and thought to myself, well (remember my last review, right?), piano is not what I like. But as I listened, I really enjoyed it and felt some certain emotions and atmosphere, that I actually liked, but it had a bitter feel to it as well. Later I had forgotten about Douglas Dare for a while, but one day decided to check, how is the lad doing, and was happy to find, that he had released another song, called "Nile". Well, it sounded definitely as not something I'd expect, on the contrary, it was completely different, and created yet another atmosphere in my mind. Then "Swim" came out. And this time I really was not that much surprised to find out it being yet again completely different. So, this was my personal story. And now we can go to talk about the actual album... It is called "Whelm" and released on 12th of May via "Erased Tapes". So, this will be the subject of my newest review. I dare you to start!

The first song is "Clockwork". It starts with swooning sounds, like from underwater. And, well, it has somehing do deal with water. It is about an ancient artefact, known as the Antikythera mechanism. A sort of "analog computer" of the Antiquity... Delicate keys, and the emotive chorus "Measure time/But it will move/Hold it close/But it won't prove anything" is really strong. Then there is this more electronic part, very likely to be compared to James Blake (what, actually, I found inadequate). But then again we return to the basic piano with some electronic beats chorus. Subtle and emotional.

The second take is the album's lead single, "Nile". I have already mentioned this one a bit. It is a completely different take than the previous song. It has a certain ambient feel to it, reverbed synth all over the place. This song is far more dramatic, compared to the previous one with its nostalgic feel. Here, instead, it is a sense of unease, a bitter feeling of sadness. It goes on and on, and then stumbles and goes into synth reverb. And then the beats and bleeps come back backwards, and so do the wonderful vocals. Even not a very fast song, not a pop hit, it is so intense. And the last bit is very frightening.

The third track, named "Repeat". Brings us back to the piano sound of the opening track. A bit faster here. "Behind glass eyes, it's hard to tell, whether pleasure is reaching your cells", well, what can be more weird, poetic and untypical, I wonder? Brilliant synth at the end. That evokes an emerging sense of unease and tension. This song has a certain desperate feeling in it. One might expect a third chorus, but instead we get an instrumental outro.

The fourth song is called "Caroline". The saddest song on the album, as well as one of the most basic piano-based tracks. "And just as I have always feared, your precious words, they disappeared, into my mind, as I went blind, let me read again the letters that she sent" – could it get any sadder? It seems such a distant theme, far from our everyday experience, letters, going blind... Yet evokes enough sadness to cry. If those words did not make you cry already, the ending, filled with tense sound and percussion, exemplifying brilliant production by Fabian Prynn, and even sadder words will most probably just do the job. At least, for me every time I listen, it is hard not to cry.

The fifth song is the title track, "Whelm". A short instrumental to calm down and relax after such an excruciating dose of feelings. Uses some interesting piano techniques. It is the only track without any percussion, yet even in such a simple piece Douglas Dare manages to find how to somehow surprise.

The sixth song, is called "Unrest". Synth goes into the mix, synth jam. Really strange. Well, after two piano-based sounds in a row, this is surprising and sounds new. Piano reminds you of loops and electronics, rather than a traditional ages old instrument. The composition is just beautiful. More drums in the chorus. And these words "The seraphins, they know your sins, and they report to my human heart..." are so interesting and new as well, lyrics here, once again, never disappoint. The ending is the same loopy motive again and again. The sense of unrest is really here.

The seventh track is the already mentioned above "Lungful". A basic piano song. But strangely enough, it still is interesting and reminds of Thom Yorke in the "The Eraser" era. Simply piano, yet in the chorus is this subtle electronic percussion. "I will not let you fail" – sings Douglas with feeling. And it gives you the feeling, that there is someone for one, who will not let you. Then the chords scatter into almost endless and comforting arpeggios. Gives me a cold, yet bright feeling of autumn. Very British. Subtle and sad.

The eight song is called "Whitewash". Another more piano-based song. Reminds me a lot of the opening track. The chorus in both songs ends a bit the same. This song is another historic one, about the Irish Magdalene laundries for as it was said then, promiscuous women and former prostitutes. The song is unbearably sad, and the haunting distant percussion sounds only amplify the feeling of pain and sadness. The ending is beautifully sad and dramatic, with Douglas playing the piano with feeling and madly.

The ninth song is called "Swim". Once again, after two piano-based songs in a row, this song is taken over by electronics. It is extremely different from other tunes on the album. Dominated by beats and bleeps, as well as warm synth, it gives you other feelings than the previous song, however, not happier. "I want to get in" – mumbles Douglas. And his lower voice gives you shivers down your spine. The chorus has this swirling piano, going round and round. Then he says something that is so relatable and close to me: "If only I could talk to you, I do not know the words I'd choose, how to say that I miss you? Would you be, as I always knew?" Then the piano and synth go to unexpected ways, and the last part features unleashed drums breaking free, wonderful.

The last, tenth song is titled "London's Rose". It is one of the oldest, I guess, songs on the album. This track again brings back the piano-led sound. After the start the chorus seems a bit unexpected, and the lyrics are just marvellous. This song is again a historic one, telling the story of the people in London, who, during the start of World War II, found shelter in the underground. I cannot help but to mention, that I think the fact, that a song about the wartime, so distant and not interesting for us, modern people, can give you such genuine emotions and feel so close and personal, is wonderful. And when Douglas sings with passion, getting louder and louder: "Take us back up, to the top/Take us back up", it is hard not to cry, as he hits the keys with desperation, sustained, and measured just to be enough for you to feel some true emotion.

So, are you overwhelmed? I was. This album is the album of the year so far. It is emotive, deep, soulful, serious. Interestingly enough, apart from "Lungful" and "Repeat", I did not like the songs at first, yet it grew on me over time. And now I like each and every song on the record. "Whelm" has this true feeling, rarely found these days. It moves its way between piano-led pop and electronic bleeps and emptiness of James Blake and others like him, this record finds its way to avoid going in either direction fully, but rather is accurately balanced between them. One might look for more diversity as it seems quite repetitive and the same patterns appear several times throughout the record, but, as an album, I guess, it should be one statement, and not a collection of random songs, so, basically that is not a bad thing at all, furthermore, the difference between some songs is huge and shows the versatility of Douglas Dare. As Jack Barnett of These New Puritans once said, that he wants to make music serious again, what is rare nowadays. So, I think, Douglas Dare does make serious music, and manages to evoke so much feeling with historical themes, that, if asked, the majority of people would call boring. But here those themes make you feel true emotion, not different than songs about "real" experience do. Yes, this album is not happy, not easily enjoyable, but it offers a lasting effect, a lasting feeling, a certain eye opening experience. Well, one might need time to get in... and swim. Oh, what is up with these puns? So, the only bad point about it is that it is too short...

Douglas Dare:

http://www.douglasdare.com/
https://www.facebook.com/douglasdaremusic
https://soundcloud.com/douglas-dare

You can buy the album here:

http://www.erasedtapes.com/store/index/ERATP057

Or, if you do not have enough money, or simply want to listen to it for free, here it is, specially for you:

  P.S. Special thanks to the author of this review for some historical details and things that were useful for me.