Posts Tagged ‘Explosions in the Sky’

North Wales Psychedelic rock band Holy Coves announce brand new ‘Druids And Bards’ 24-date UK Tour and are set to release brand new ‘Desert Storm’ single which  on Friday 29th of April via prolific North Wales Label Yr Wyddfa Records.

Dropping swiftly into the slip-stream and following on from the successful ‘The Hurt Within’ which was released last month, ‘Desert Storm’ sets the psych mood with droney riffs, hazy vocals on an epic musical landscape.

Lead by Welsh Singer-Songwriter Scott Marsden, Holy Coves find themselves crossing an unseen threshold on a fantastical new journey where new psych-hazed material spells an exciting new era for the collective.

Through long time friend and Producer David Wrench, Holy Coves were put in touch with Texan Producer Erik Wofford (The Black Angels / Explosions In The Sky) and have built quite a magical working relationship, one where Wofford found himself on Mixing and Mastering duties for the material and certainly contributes to their new sound.

Listen to ‘Desert Storm’ here:

Tour dates are below:

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Ghosts Of Torrez released their first single (The Return) during the second lockdown in 2021 to critical acclaim and the follow up ‘Closer’ following later in that year.

In 2022 the band will release their debut LP and have already started taking their cinematic style, psychedelic, electro-folk to the live arena (more live dates TBC).

Their new single ‘The Wailing’ is due to be released on the 11th February on all streaming services, followed by a limited free, Flex-Disc release in early March.

‘The Wailing’ is accompanied by a Manga style video, “The Legend of Billy The Whale” (The Wailing/Whaling – who doesn’t love a play on words), which depicts the desperation of a broken, Captain Ahab type figure, vengefully taking on the beast he holds responsible for the death of his loved ones.

Taking their lead from bands such as Explosions in the Sky, Joy Division, Sigur Ros and Mogwai, GOT build their songs from soft, slow beginnings into cinematic style wonders.

Watch the video here:

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GOT - whale

Long Branch Records and Mystic – 6th May 2016

Christopher Nosnibor

Instrumental four-piece Tides From Nebula are an instrumental 4-piece fail from Poland. Some of you may already know that, especially if you’re reading this in Poland, given that I’m reliably informed that they’re Poland’s most popular post-rock band. But then, how big is post-rock in Poland? Big enough, I guess: it’s something that seems more popular in mainland Europe and beyond than domestically here in the UK, and home-grown post-rock acts like Her Name is Calla seem to have a bigger fanbase beyond the British Isles than at home. It’s not just about catchment or population: the UK seems, in the main, to be depressingly mainstream and conservative in its tastes. Anything remotely alternative is niche, and there’s little to no crossover between mainstream and alternative markets. Elsewhere, music fans seem altogether more accommodating and diverse, and the levels of enthusiasm shown to bands is significantly greater beyond the confines of our island shores too. I daresay that Tides of Nebula have felt the cultural differences during their extensive touring: since their inception, they’ve played over 500 shows globally, and Safehaven is their fourth album.

It is, without doubt, a quintessential post-rock album. The guitars chime and build their way, inexorably, to surging, euphoric crescendos that soar and sustain. Yet there’s an understated power evident here: there are some big chords, and the heavy strikes hang in the air with a long afterburn.

But then, ‘The Lifter’ marks a change of instrumentation and a change of style, the throbbing synths and more mechanised sound beneath the interweaving guitars presenting a sound more electronically focused, hinting more at Depeche Mode than the well-trodden post-rock conventions. And gradually, the album finds Tides from Nebula incorporate an increasing range of electronic instrumentation, and while as I say, it’ a quintessential post-rock album, it’s also an album that does a whole lot more and does so in a way that’s interesting and holds the attention instead of becoming bogged down in indulgent-wankery.

As the album’s cover art – a shot of the Cayan tower in Dubai or a manipuation thereof? – suggests, the album’s architecture is daring, and comes with a big twist. And as Safehaven demonstrates, it’s their ability to move beyond the conventions of straight, guitar-based post-rock – and to do so without it sounding forced or like a desperate push to step out of a well-worn post-rock rut – that really goes in the band’s favour. In fact, while the latest album by Explosions in the Sky sees them trying and failing to achieve precisely the same, Tides of Nebula succeed, striding confidently into expansive new territories. And in that context, it’s reasonable to call Safehaven a triumph.

Tides - Safe

 

Tides From Nebula Online

Bella Union – 1st April 2016

Christopher Nosnibor

Explosions in the Sky have long been more than merely synonymous with post-millennium post-rock: their early albums effectively set the template for virtually every other band in the field with their delicate guitar work and epic crescendos. It’s been five years since their last album, and ‘The Wilderness’ finds Explosions in exploratory form.

It’s epic, for sure, and it’s also brooding, nuanced, detailed. The title track has all of the standard ingredients and gets the album off to a gentle start. So far, so much business as usual.

But the album as a while feels far from formulaic, and it would be a stretch to align many of the tracks here to any genre other than progressive. There are bold, rumbling pianos and drums that roll like thunder as vast sonic vistas unfurl. But instead of the storm of crescendos, there are expansive near-ambient passages, flickers and bubbles of electronica

Urgent drumming underpins the moody ‘Infinite Orbit’, which actually feels like an intro passage to a latter—day Swans track and is one of a number of shorter tracks that point to a relatively concise album – in fact, only three of the nine pieces here extend past six minutes, with the dark and sombre ‘Logic of a Dream’ proving to be one of the most expansive tracks both in terms of duration and sonic reach.

Perhaps ironically, then, while it does feel like Explosions are striving to tread new ground, in abandoning the trademark dynamics that defined the post-rock genre, they’ve produced an album that lacks any sense of action. It’s pleasant, mellow, even. It doesn’t make you feel anything (yes, when I write ‘you’ I’m projecting my own experience as a listener onto you, the reader, both individually and collectively), and ultimately it’s bland and inessential. It’s a proggy post-rock album in an endless desert of proggy post-rock albums. A wilderness indeed.

Explosions in the Sky - Wilderness

 

Explosions in the Sky Online