Posts Tagged ‘The Veldt’

Schoolkids Records – 2nd June 2017

Christopher Nosnibor

The blurb tells me that ‘On the trail of their successful Record Store Day 7” single ‘Symmetry / Slow Grind’, Raleigh-based Schoolkids Records have announced the coming release of ‘The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape EP’ by alternative soul and shoegaze pioneers The Veldt.’

The Veldt have been around for a very long time, now – always on the peripheries, but wholly ingrained in the same milieu as The Cocteau Twins, The Jesus and Mary Chain, et al, as well as sharing stags with an impressive roll-call of acts spanning The Pixies to Echo and the Bunnymen via The Manic Street Preachers.

The EP’s title is (in part) lifted from a poem by e.e.cummings, while ‘The Drake Equation’ is a sort of punning gag that’s both intellectual and spectacularly . Cumbersome as it is, it’s quite a tidy literary allusion, and one which illustrates both the band’s overtly arty leanings the and the immense breadth of their spheres of reference: this is, after all, a band whose name derives from a story by Ray Bradbury. If the idea of high modernism coming together with slick 21st century r‘n’b seems like an improbable and unlikely recipe for success, then it’s all down to the execution.

The five tracks on this EP may or may not ‘rage’ with ‘a sound influenced equally by emotional soul of Marvin Gaye, free jazz warriors Sun Ra and Pharaoh Sanders, various Drake hip-hop tracks, long-term musical kin Cocteau Twins, and their own fertile electric imagination.’ But what they do achieve is a compelling hybrid of styles.

Stuttering beats, somewhere between hip-hop, jazz and drum ‘n’ bass jitter and twitch beneath draping, rifting layers of sonic mist define the multifaceted ‘Sanctified’, which glides he EP into a smooth yet detailed launch. It’s the progressive soul element of their expansive shoegaze-orientated sound which renders The Veldt most distinctive:

‘In A Quiet Room’ simmers and chimes, a laid-back rhythm contrasting against the swirl and eddy of layered, FX-drenched blankets of guitars. The tom-orientated drumming on the dreamy ‘One Day Out of Life’ has echoes of early New Order about it, before a rising swell of a drifting sonic cloud.

The EP ends on a super-mellow soul trip in the shape of ‘And It’s You’: with a melody that evokes Bread’s ‘Make it With You’. Perverse as it may sound, it not only works well, but seems entirely fitting, the smooth soul vibes entwine with a slick hip-hop beat to forge a loved-up groove that’s sort of slanted, but at the same time, kinda natural. Nice.

 

Veldt EP

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Leonard Skully Records – 9th December 2016

James Wells

I’m growing rather weary of arty shots of naked or semi-naked women adorning the covers of releases by post-rock and shoegaze bands. And shit post-metal and post-hardcore bands. Everything’s post-something now, and I’m beyond weary of that. But we live in a click-bait world where adolescence is suspended in perpetuity, and despite the fact that everything’s freely available and as hardcore or strange as you want it at the click of a button, there’s still a certain lure in the risqué.

Call it art – and it should be possible to do so – but the prevalence of the practice makes it feel hollow, cheap and exploitative. ‘Yeah, let’s slap a chick on the cover of our meandering, ponderous post-rock EP… it’ll make us look arty and interesting and like we know photographers who can get girls to pose for them. Incidentally, I hate photographers as a rule, especially the ones who manage to make like they’re ‘safe’ aren’t sleazy… and no, not because I’m jealous. I really do just think they’re cunts.

The_Veldt_-_In_a_Quiet_Room

In a Quiet Room’, the single cut from The Veldt’s preposterously-titled The Shocking Fuzz of Your Electric Fur: The Drake Equation has an arty black and white head and shoulders shot of a woman, or a girl, by way of a cover. Apropos of absolutely bloody nothing. It certainly says nothing of the layered, textured, murky, glitchy, drum ‘n’ bass influenced soulful post-rock sonic expanses they conjure, the trickling cymbal work which grips a tight tension over squalling, drifting guitar treble on the EP’s opener ‘Sanctified’ or the shimmering post-rock / r’n’b crossover of said single ‘In a Quiet Room’.

Quite how comfortable I am with their seemingly incongruous but seamlessly smelted hybridity, I’m not sure, but there’s no faulting its execution. The Veldt get atmosphere, and they get sleekness. I’m not sure I get it, or the appeal, but it’s neatly executed and sounds nothing like the cover art suggests.

 

Veldt EP