Yeti Lane

The Echo Show

Sonic Cathedral

Rating: 4/5

Fucking hell. Has it really been a month since my last post? Okay, I mean I have been writing stuff for Prog and DIY but that does seem like quite a while even for me. Sheesh. Anyway, it's time for an album that nobody else was foolish enough to let me have a crack at - Yeti Lane's difficult second, The Echo Show. Now, I'm going to spoil the ending by pointing out that nearly every review has been overwhelmingly positive about this record, and I'm not about to break that trend. I am, however, going to talk about something other than the stunning first track, 'Analog Wheel'. Yes it's brilliant, kosmiche, swirling, physchedelia, Neu! etc., but there's also like an hour of other music on there that isn't getting mentioned. 

Without wanting to get into a track-by-track style review, an example of this would be the title track, (and track two) 'The Echo Show'; as more consistently found on the rest of the record, though it's fair to draw krautrock comparisons, perhaps more relevant sonic touchstones would be The Beta Band and (latterly) The Aliens. I'll grant that the drums do come very much from that heritage, but the spindly electronic fragments and ethereal vocals that define the record are of an altogether more modern pedigree. 'Logic Winds', for instance has the ring of The Flaming Lips or Nice Nice about it, while 'Alba' is like Jason Lytle's finest post-Grandaddy downtempo offerings. 

For me the real elephant in the room however is The Secret Machines - I mean, once you get over the obvious fact that Josh Garza isn't in the drum stool then there's definitely something beyond a simple liberal referencing of influences. I listen to 'Faded Spectrum' and hear the noisy wig-out that could have occurred if... wait... hang on... how did the beginning of 'First Wave Intact' go?

Anyway, whatever bands it sounds like, the record is sort of what everybody says it is; a great alternative record that touches playfully on the most tongue-in-cheek electronic sounds while still having the nous to accomodate a good, old-fashioned guitar wig out now and then. Brilliant. 

Reuben
Racecar is Racecar Backwards

Rating: 4.5/5

The list of bands I was too bigoted against to appreciate while they still existed grows again by one. So, let's quickly deal with the why I was an idiot - and then we can get to talking about this record. Basically it was two things; first, a show where Reuben played in my hometown and acted like little prima donnas, and second, that a bunch of pretty douchey guys and fucking emo kids liked them. Erm, that's about it really. 

So, of course, when I finally took the time to actually listen to them properly it naturally turned out that they were fucking ace. Their second album isn't much to write home about, but their first really is; the best way I can explain it as a shoutier version of the album Septembre could have made if they'd ever actually gotten their shit together (and I fucking loved Septembre). 

The singles 'Let's Stop Hanging Out' and 'Freddy Kreuger' are naturally ace, but the opener 'No One Wins The War' really is the song that sells the album. Rocky, catchy and with a little off-kilter jagginess to the riffs, it's a little like the aforementioned Septembre's track 'Always' and really sets the tone (and pace) for the record to come. Personally, my favourite is 'Tonight, My Wife Is Your Wife', which, so the story goes at least, is actually about the town I grew up in. Ace. 

Lyrically, there's a good shot of wry humour as well as the same bitterness that would eventually lead to their 'greatest hits' being called We Should Have Gone to University; there's a lot of focus on friends moving away to college and stuck-up girls, but then that's sort of what you'd expect for a young rock band from the commuter belt. Post-album single 'Moving to Blackwater' is the epitome of this; only people living in Surrey of a certain age can really get where they're coming from with that in-joke, but you begin to feel that maybe their prima donna-esque angst about their lack of success wasn't so unwarranted after all. 

In conclusion then, a great straightforward rock record with not a weak song on it; if you're in any way into the British post-grunge bands that spawned around the turn of the millennium then you need to own this record.

The Dillinger Escape Plan

Ire Works

Relapse Records

Out Now

Rating: 5/5

Now, I'm actually a believer that for the most part you can tell if you're going to like a band before you even hear them. Whether it's from a vague idea of the sort of guys and gals that listen to the band or the direction and density of hype you've been in the way of, prejudiced though it may be, you have a pretty good bullshit barometer built right in. Obviously however, there are a few bands that slip the net, and TDEP sadly are just one of those such bands, and a welcome reminder that despite gut feelings it's always worth checking a band out just in case. 

From having listened to them, I can see that the screamo-emo-whatever kids that infested (I choose my words carefully) my home town were probably name-dropping TDEP just to be out-there or to avoid saying "My Chemical Romance" too much when asked about bands at parties, but bigotry aside their back catalogue is really worth checking out. I recently said to friends that as a band they were simply "necessary", and I'm not sure that I can totally better that description of their music. Extreme, mathy and laden with (depending on the record) over-produced flourishes, glitch electronic or overwrought metal theatrics, the bedrock of the music is nevertheless edgy and scattershot, not so much ebbing and flowing as striking and withdrawing. 

Ire Works is incredible as an album - coherent, and flowing together with almost a prog-rock devotion to the format, it's also quite mind-boggling that only three out of thirteen songs clock in at over four minutes. 'Fix Your Face' and 'Lurch' combine to make a brutal opening salvo, kinetic riffs clocking up the intensity and the b.p.m. before 'Black Bubblegum' swaggers in with some wrong-footing pop sensibility. 'Sick on Sunday' brings things back to task, closing on an excellent faux Deftones art rock chug before 'Nong Eye Gong' and 'When Acting as a Wave' thrash out once more, the latter a paranoid back-and-forth motion of guitar slashes and glitch full-stops. 

The latter half of the album sees the tracks lengthen and the chords expand; 'Milk Lizard' is the closest the band come to radio-friendly, while 'Dead as History' is a slice of progressive metal that Tool would rightly be proud of. 'Mouths of Ghosts', the closer, actually sounds like a strange mix of The Who and Bowie for the first half of the track, moving in shades of quasi-world music eastern scales and rhythms. When the track finally cuts loose, bizarrely it kind of sounds like post-Make Yourself Incubus, Greg Puciato coming across with a Brandon Boyd sized croon and Ben Weinman's guitars becoming truly stadium-sized. 

Extreme, original, thrilling, and utterly, utterly mental, this album is absolutely essential in every important way. 

Steven Wilson - Grace For Drowning [Review]

Hello there, I'm not going to post it up here, but Kscope kindly sent me a copy of Grace and I reviewed it for HV here. If you use the little search box on this page, you'll also find an old review of Insurgentes, his last solo album.

In the meantime, here's 'Harmony Korine' from Insurgentes.

...And You Will Know Us By The Trail Of Dead

Tao of the Dead

Superball Music

Out Now

Rating: 5/5

My discovery of this album if anything proves that at least I'm writing for the right people. After reading a glowing live review in Classic Rock Presents: Prog, and trusting that any label willing to sign Oceansize would probably put out good craic, I picked up their most recent long-player, Tao of the Dead, out on Superball Music. It's a concept album, and admittedly I haven't got into that side of it especially yet, but the music has proven infectious enough that it's become the soundtrack to my Californian roadtripping these last two weeks.

Opening with the 'Introduction', you're confronted for the first time by a scalic, harmonized math guitar riff that will return throughout Tao, as it ebbs and flows with the dynamic of a record written almost as a single piece of music. When Steven Wilson announced The Incident, I have to admit that, rather than what he eventually delivered, I was expecting something much more like Tao; gleefully self-referential, sprawling and unrelenting.

Possibly my favourite thing about this album is that, as band members switch instruments, you can almost feel the changes in personnel; where 'Pure Radio Cosplay' and 'Summer of all Dead Souls' have drums that'd be at home on any Shinobu or West Coast punk record, 'The Fairlight Pendant' has a motorik drive to it, and these are just the tip of the iceberg where subtle shifts in playing style are concerned. The punk reference is apt too, for while this record is often going to be heavier than some casual listeners would prefer, there's also a breeziness to it; most of the album is in a major key, and for all the Fugazi-Sonic Youth dissonant turns it's certainly not so hard going that a mainstream rock listener couldn't dig the bulk of it.

With the emotive pull of 'Ebb Away'- directly following the fantastic reprise of 'Pure Radio Cosplay'- the record takes its final turn, as the band embark on 'Tao of the Dead Part Two: Strange News from Another Planet', a sixteen-and-a-half-minute blast of summery math-prog and post-rock meandering that neatly encapsulates everything I've grown to love about this band. Unlike all the other tracks that have preceded it, 'Tao Part Two' changes from a D tuning to an F tuning to mark the transition, though arguably the end of 'Part One' falls shortly before the intro of 'Ebb'; regardless, it's still an impressive feat of musical arrangement and artistic vision.

Ultimately however, the greatest thing about Tao is that it's the sound of a band literally doing whatever the fuck they feel like, and being good enough musicians to pull that off. It's fucking brilliant. 

Yourcodenameis:milo

Ignoto

Rating: 4/5

YCNI:M are a band that if I'm honest I've known a little about for a long time, but only got into recently. Besides their first EP (which is generally the most fan- and critically- lauded of their works, or so I gather), Ignoto is the only thing of theirs that's really fully worth taking the time over. Like The Cooper Temple Clause they seem to have kind of gradually burned out and then given up before their chance to record a 'return-to-form' album. Then again, to use the 'cult band' clause (lest I be the recipient of internet hate), this is only my opinion. 

From opener 'I Am Connecting Flight' it's clear to see where their angular post-hardcore will take them, and the tone is set for much of the record. In fact, a lot of the guitar sounds that would make Oceansize so influential in certain circles are also present on Ignoto in spades, and that's hardly surprising; early tour partners and ascendant during the same period, they were presumably ripping each other off a little. Just as 'Amputee' recalls Vex's 'Clone Jesus', there are equally sonic touchstones between Ignoto and Effloresce. 

Single '17' is clearly their attempt at the prize; with only about twenty seconds of verse, it certainly doesn't fuck around, and the chorus is a masterclass in the anthemic collision of guitars that will be perfected on the latter half of the record, when they make forays into Slint or Mogwai- informed post-rock (or at least extended structures). 

'Rapt Dept' sounds uncannily like 'Interglacial Spell' from Amp's Octopus, and that's fitting; just as Amp were feeling the weight of their Soundgarden ancestry, 'milo occasionally have to pay their dues to the Seattle scene, and do so most clearly on this track. Their stab at the heart is 'Team Radar', which manages to have a certain pop sensibility about it despite its layers of distortion and dischord; it's this side of 'milo that In Casino Out would later channel so effectively on their seminal 2011 Victims & Vultures Alike EP.

However, it's tracks like 'Fivefour' that really show off YCNI:M's true strength. When the first guitar enters in the left ear, you're expecting a Fugazi grinding punk onslaught, but then a guitar enters with a counterpointing sweet melody and you're suddenly wondering if a) if that's Justin Lockey, b) if that's the first instance of the sound that would define White Belt Yellow Tag, and c) whether it's really a surprise that they couldn't come out with another album of this brilliant traincrash of playing styles, sounds and atmospherics. 

Other great tracks include the axiomatic on/off, pop-chorus/verse grind of 'Empty Feat' and the colossal menace of the closer, 'Audition'. Whilst I'm not going to pretend that at heart this is anything other than a great post-hardcore record, when situated within the broader canon of the last great wave of british guitar rock, it's truly special.