Due to technology, this EP (released on cassette – hence the
name – through Music Ruins Lives) has been sitting in my inbox unnoticed for
several months. For that, I apologize. From the name of the band, one might
guess that they played post-something, and you’d be sort of right – the influence
which jumps out instantly to me is Jesu, in the shimmering semi-industrial
shoegazey sense. Jesu are always better on EPs due to their albums becoming
boring over their full duration, and I suppose this is the same.
The aforementioned elements create quite a haunting ambient
effect – but despite wholly miserable lyrics, the music is uplifting to some
degree; consider the musical form of being haunted by a nice ghost who sings
melodically rather than attempting to scare people. However, at times the raw
production makes it somewhat difficult to discern individual melodies,
particularly when notes used are chromatically close to each other. Although
this rawness gives a warm feeling – like that of an LP – overall it probably
strays far enough to slightly detract from the music. That said, it’s a
cassette release, and therefore one should not expect outstanding production.
A point of particular similarity with Jesu in particular as
opposed to many other practitioners of this kind of music is the choice to use
something roughly resembling popular structure (verse-chorus-verse or
variations thereon), particularly on the pleasing opener ‘All The Ships Have
Been Abandoned’. The vocal approach, however, which is integral to the quality
of the music, as many of the instrumental patterns are a little uninspired, is
more similar to that utilised by SubRosa (although from my guess the vocalist
here is male). Unfortunately, for the most part they sound a little frail – and
in a way that is more weak than ‘woe is me’, something which is particularly
evident when they are brought to the forefront of the music by quieter
instrumentation.
Speaking of the instrumentation, the email from the band, as
well as the label’s website, informed me that no guitars were used in the
creation of this, which they are still calling ‘rock music’ (a tag that I would
loosely agree with). To be honest, I really don’t see the point in bringing
this to our attention. The timbre of one of the instruments used (presumably
one of the synthesisers mentioned) sounds so much like an electric guitar (a
matter that the mucky production aids little to clear up) that it may as well
be one. I’m not criticizing the use of alternate instruments, more so the
particular highlighting of this factor which has so little effect it ultimately
amounts to little more than a gimmick.
An unusual, but effective, use is made of the juxtaposition
of what, at the end of the day, is inherently catchy music (although one would
struggle to call any of the motifs and melodies used strictly ‘poppy’, they
lean that way at times) with industrial (we’re talking Throbbing Gristle, not
Combichrist here) and noise elements in middle eight sections. This blends
smoothly rather than clashes awkwardly as one would expect – a true success on
their behalf, and something that’s not really been done before (no, Merzbeat doesn’t count).
There is a fine line to be trod between suffocating emotion
and tedium in music, and Wreck And Reference manage to trample haphazardly on
both sides of that line with roughly equal proportion. Where their style works,
it moves towards ‘stunning’, but there are simply too many sections of the EP
where I’m looking at the second hand on the clock to justify too much positivity
about the good parts. The same feeling comes from some of the odd diversions
they go on in the EP – they’re of decidedly mixed quality, and some leave a
jarring effect and hamper the continuity of the individual piece or the EP as a
whole.
A good last track on a release is probably more conducive to
wishes to listen to it again than any other track – that last impression is a
lasting one, and fortunately the closer here, ‘A Lament’, is the standout
track. The drones and synths bring a shimmering quality to it, and the vocals
come across as sufficiently strained to introduce some real heart-ripping
emotion to it. This may be so, but many other sections of the EP go through the
mind as though it were a sieve, and although this EP shows promise, and future
Wreck And Reference releases could be something indeed, to those with a busy
listening schedule it’s definitely one that can be passed on with no harm done.
The reason why this is tagged with 'legal' is that the copyright of a sound recording expires 50 years after initial publication, so the copyright for this expired in 2009.
