Posts Tagged ‘Abrasive Trees’

Abrasive Trees – Epocha

Posted: 10 March 2023 in Albums
Tags: , , , , , , , , , , ,
0

10th March 2023

Christopher Nosnibor

Epocha gathers together Abrasive Trees’ output from 2019-2021 – a brief but pivotal period for the band released four singles and EPs which found them evolving and solidifying their sound. They’ve been variously described as Post-Punk/Post-Rock/Post-Folk and permutations thereof, and all of these elements are in the mix in a style that has gothic – but not explicitly ‘goth’ overtones across the course of the nine tracks gathered here.

Although ostensibly a five-piece centred around Matthew Rochford in their current incarnation, these recordings feature a host of contributors, notably Mark Beazley of Rothko and Band of Holy Joy, who was also involved in elements of production, mixing, and mastering the tracks, and among others. It’s perhaps because of what these individuals bring, both in terms of playing style and instrumentation – with cello, e-bow, organ, and dulcimer among the array of instruments which augment the standard setup off bass, drums, and guitar.

The fact that the songs aren’t simply presented chronologically – and remixes have been omitted – does give this disc a more the feel of an album set than a compilation, and this makes for a journey-like listening experience.

The album opens with ‘Bound for an Infinite Sea’, the lead track of the EP bearing the same title from September 2020, and the chiming guitarline is reminiscent of The Nephilim era Fields of the Nephilim, and sets the expansive atmospheric tone that defines the sound of Abrasive Trees.

While there are vocals, they feature sparingly, rippling up between the lengthy instrumental sections. On ‘Replenishing Water’, this manifests as a percussion led swirling psych groove, whereas elsewhere, as on the slow, hypnotic ‘Before’, the vibe is rather more spaced-out and trippy, and there’s certainly an experimental, almost-jam-based aspect to the music in places.

Predominantly, though, there’s a contemplative, brooding nature that seeps through the rich yet subtle arrangements, and at times, in the folkier parts, I’m reminded of Last Harbour (granted, not a comparison that will likely leap out to many, but so often the best bands are underrated and under the radar). The dark, moody ‘Alone in the World’ is eerie, haunting, and other-worldly.

In pulling together these recordings, released variously on cassette, vinyl, and hand—packaged CD, one would hope that Abrasive Trees will find new converts, even if there are only 100 copies of this CD-only release – if its existence steers people to the digital versions of the original, then it’s all to the good, although it has to be said, as a fan of physical media, Epocha is a lovely item, as well as a well-realised document of the band’s first phase.

a4124501000_10

(Image links to Bandcamp)

Abrasive Trees – Moulding Heaven with Earth

Posted: 5 May 2022 in Singles and EPs
Tags: , , , , , , , , , , ,
1

28th April 2022

Christopher Nosnibor

While physical formats for music may not be especially popular these days, there really is no substitute for holding an article in in your hand. It’s not just about the artefact or the possession – although increasingly, I feel that actually ‘owning’ your music seems like a sound move as acts pull their music from popular platforms – particularly Spotify – and acts who no longer exist cease to maintain their websites and BandCamp profiles and their works simply disappears. Nothing is permanent, but when it comes to things which are virtual, their ephemerality is even more pronounced. This is a long way to coming around to saying that the CD for Abrasive Trees’ new single is magnificent as an item, and it’s very much a fitting way to present the musical contents, and with three tracks including a remix of ‘Moulding Heaven with Earth’ by Mark Beazley (Rothko), it’s a proper 12” / CD single release, the likes of which are sadly scarce these days.

I don’t just love it for the nostalgia: this feels like a proper, solid package in every way, and ‘Moulding Heaven with Earth’ is very much cut from the cloth of sparse, minimal shoegazey post-rock, which provides the backdrop to a stirring spoken word performance before spinning into a slow-burning extended instrumental work. It builds and it broods, the atmosphere growing denser and tender as the picked guitar lines unfurl and interweave across a slow, strolling bass. A reflection on life and death, earth and afterlife, it’s a compelling performance, and the words would stand alone either on a lyrics sheet or as a poem. From there, it’s a gradual, and subtle journey that culminates in a crescendo – that’s strong, yet restrained.

B-side / AA side ‘Kali Sends Flowers’ is moving: again, it’s understated, and yet so very different, spinning a blend of post punk – even hinting at the gothier end of the post-punk spectrum – and psychedelia that in places hints at Spear of Destiny in the way it’s sparse yet rousing. It’s one of those songs that simply isn’t long enough, and that demands for ‘repeat’ to be hit immediately to keep it going.

Mark Beazley’s remix of ‘Moulding Heaven with Earth’ accentuates the atmospherics, and while it retains the rhythm – and if anything it highlights the beef of the bass – and is generally quite respectful in its treatment, and somehow expands the vibe and introduces a more ambient feel, while at the same time shaving over a minute off the time of the original. It’s an interesting – and I mean that positively – reworking, and one that most definitely brings something fresh to the track, rounding off what’s as close to a perfect EP as you’ll hear all year.

AA

AA

31UQdh hqYL

Abrasive Trees – Bound For An Infinite Sea

Posted: 19 August 2020 in Singles and EPs
Tags: , , , , , , , , , , , , ,
0

Wise Queen Records / Shapta – 4th September 2020

Christopher Nosnibor

Abrasive Trees may be the solo project of Scottish-born guitarist and singer Matthew Rochford, and this may be a debut release, but already the project has acquired a roll-call of contributors on a par with Pigface or The Damned. Amongst these are Peter Yates (Fields of The Nephilim), Mark Beazley (Rothko/Band of Holy Joy), Steven Hill (Evi Vine), and Jo-Beth Young (Talitha Rise/RISE/Yates & Young).

The sum of this three-tracker bears little obvious relation to its parts, in the best possible way: there’s no sense of baggage or of any of the contributors striving to define the sound with their various stylistic signatures, and what’s more, none of the compositions sound remotely alike, showcasing a creative openness and willingness to experiment and embrace different forms.

Emerging from a thick atmospheric mist, ‘Bound for an Infinite Sea’ has gothic overtones, with picked guitars echoing out over a deep, rumbling bass. With hints of early Cure, Skeletal Family and Salvation, it broods through shadowy shapes in a fashion that’s perfectly evocative of the early 80s post-punk sound, but it’s also spun with an ethereality that owes as much to the 4AD roster and 90s shoegaze. Rochford’s voice sounds dislocated, disembodied, as it floats into the air, lost, alone. The production is hazy, a vagueness hangs over the notes, with the instruments blurring together as the percussion lingers hesitantly in the background.

Beginning with hints of expansive post-rock, there’s almost a folky feel to the delicate instrumental ‘Brother Saint’, which washes into the more abstract, experimental semi-ambience of ‘Replenishing Water (Stripped)’.

Uncertainty, trepidation, and a certain sense of otherness permeate this set, and if Abrasive Trees’ identity and direction seems unclear at its conclusion, then it’s all to the good, leaving open all avenues and possibilities for exploration.

a3041202781_16