From what we said to when it's read [Week Overview]
Weekend! Definitely the right time to relax, read the papers and get updated on all sorts of things.
Here is what happened at dunk!records this week:
It stands to be noted that in a genre short on vocals, it takes something extra to craft a sound that that is instantly recognizable, but that’s exactly the place that RANGES have arrived. Over a wildly prolific stretch of nine releases in five years, the band have established themselves as one that you know the moment you hear them. The weighty rhythm guitars and bass, distinctive lead melodies soaring just overhead, and muscular mid-tempo holding it all together, all of these have coalesced into a unique presentation that is unmistakable. The greatest strength of Babel is the way in which the band have made small but integral adjustments to their flourishing formula to create heightened dynamics and dramatic thrusts within the established framework.
RANGES have demonstrated perpetual growth in terms of composition and vision!
Observe crucial moments like the mid-song momentum shift in “Idolator,” with its driving percussion and deliberately forceful and impactful chord progression; the huge crescendo that concludes “Avarice;” the sweeping, dramatic melodies of “Decadence” and “Revelation.” In these spaces you’ll find RANGES honing their craft and pinpointing areas where they can build their sound into something even more expressive and provocative than what’s come before. Too often bands think about re-inventing what they want to be without perfecting what they already are; with Babel, RANGES successfully continue their tireless pursuit of crafting the most pristine vision of the sonic aesthetic that’s made them a fan favorite in the new era of post-rock. This is indeed their finest effort to date, as well as another sworn promise to their growing fanbase that they can be relied upon to deliver every time out.
—David Zeidler (Young Epoch)
The indignation of the record can be seen clearly in the massive riffs and swirling climactic maelstrom of the album-opening single “Tower,” the driving progressions of “A Beautiful Collapse,” or the feverish cacophony that introduces “The Last Sun.” But it’s the ways they utilize their broad canvas in the spaces between these dramatic swells that truly defines the tone of Triumph and Disaster. The album is breathlessly expansive in its loudest and most confrontational moments, but its greatest sense of immediacy comes in softer instances, for it is in those places where We Lost the Sea appeal to that which is most delicate and thoughtful in us. The aforementioned tracks deftly balance both approaches, leading piece by piece to “Mother’s Hymn,” which acts both as lament and lullaby as the album’s sonic horizons drift into the distance.
Triumph and Disaster is an artistic exploration of how our greatest advances have brought our world to the brink of destruction.
Amidst the darkness of our self-imposed downfall there yet remains innocence and purity and a sense of hopefulness, however fleeting. This largely rests in the hands and minds of children, which reveals a secondary possibility regarding the triumph of the album’s title. In the face of ever-intensifying odds, the dream of a better world dances through this resilient space where ambition and cynicism have yet to combust.
—David Zeidler (Young Epoch)
You’re awake. Walking through the door. Everybody is ecstatic. Lights are shimmering off of the glimmering faces. Each one unknown. Each visage, new. Among it all, you feel a sense of connection. From where and why? You feel it’s not meant to be understood as it is simply innate. Within each smile is a presence of you. Of us all. A visage like a mirror. Inspiration, unknown and unbeknownst. Vicariously, you can see the world as whole. Together and always new. And you move on, as who? This is the impact of MOTEK’s release, Sonder.
Motek’s endless jam sessions result in combinations of melodies, rhythms and creative flaws.
Sonder means ‘the realization that each random passerby is living a life as vivid and complex as your own – populated with their own ambitions, friends, routines, worries and inherited craziness – an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you’ll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk.’
— Sly Vinyl
Call of the Void is a record that tackles the unknown, the aberrations of our world, those things that fly in the face of all our scientific advances to remain utterly mysterious. The Bermuda Triangle, the Bangui magnetic field, the Marree Man of Australia, the Porcupine Bank of the Irish shelf – phenomena that would seem thoroughly fantastic did they not exist before our eyes – these are the essence of Celestial Wolves’ titular void. And like these geographic and scientific anomalies, the void is a concept that draws us ever closer to its gaping and unbiased jaws, alluring enigmatically and feeding mechanically. The only way to approach such huge concepts is with huge riffs and Celestial Wolves brings these in spades to this tumult of ideas.
For adventurous listeners who like their music loud but contemplative, uncompromising but engaging, Celestial Wolves’ vision of the void is one of swirling richness and vibrancy into which entrance is irresistible.
Capturing the unknowable in sound is a towering task but it is one that Celestial Wolves has built toward for several years now. The perpetually-advancing maturity of their compositional style has solidified them as a force to be reckoned with in the Belgian heavy music scene. One needs only to look to the propulsive percussion and giant guitars that lead the way on album opener “Batur Hvarf,” the vast and transfixing soundscapes of “-128,6 F,” or the dynamic darkness of “Bangui” to understand the kind of multi-faceted instrumental journey Call of the Void offers.
—David Zeidler (Young Epoch)