(no subject)
EXIT
THE BLIND ALLEY
?
Having swollen to a five piece since the debut ‘”The Way Out Is Through” Exit deliver some songs of true class and witty lyrical observation, merging sound and atmosphere skilfully so that one aspect benefits from the other. Take opener ‘The Drain At The Bottom’ with an abstract sense of social misery, made more intriguing with sound seepage behind the clever words, then the music asserts control, , only to flicker, turn and burn.
The lighter ‘Confessional’ contains more surreptitiously filmic lyrics, delicately pretty guitar and a subtle rhythmical seachange midway as the tone is intensified, aided by the backing vocals of Lisa Cuthbert, which is not the only time she intrudes here. (Other guests are Michael Plaster, Avi Ghosh and Candice Sanders.) The sad regret expressed through the shifty ‘Alicia Marie’ remains at arms length. The leisurely suspicions in ‘Looking Glass’ also blend with the curiously transparent sounds to get you thinking, until you snap out of it, realising you don’t actually know what it’s about. These words are traps! ‘A Fractured Gesture’ is noir without darkness, an airy twist of a thing, vocals fencing happily, the mood dour and yet the feeling is fairly mild and bouncy until the final thrust.
Need details of who is in the band at the midway point? Take various bows, Benjamin Londa (vocals/guitar/synth/prog), Nathan Hewitt (drums/synth/prog), Adam Jumper (guitar), Patrik Nilsson (bass) and Alex Virlios (synth).
‘The Paris Heights’ swarms along genteel grooves, vocals poured into place over discreet keys and patient drums. ‘Landlocked’ is an android snippet with a brisk glaze applied, then ‘Body’ thrums thoughtfully in accompaniment to a bleak lyrical stew, an orthodox farewell. ‘The Thinnest Air’ seems shy, taking an age to get going, insanely quietly, then it breaks through into mildewed vocals mulched into sentimental lyrical optimism.
‘The Door’ sees us out with more of Benjamin’s obsession with holding things tightly, and then falling away from a relationship like an astronaut whose line breaks while on a spacewalk. The bass agitates and becomes wonderfully invigorating, the song up and ready to whirl, but settling on a holding pattern of pert drama.
It’s an album to really sink in to, without the despair of the protagonist.
https://www.facebook.com/weareexit
http://www.weareexit.net/
http://weareexit.bandcamp.com/album/the-blind-alley
http://www.reverbnation.com/exitproductions
THE BLIND ALLEY
?
Having swollen to a five piece since the debut ‘”The Way Out Is Through” Exit deliver some songs of true class and witty lyrical observation, merging sound and atmosphere skilfully so that one aspect benefits from the other. Take opener ‘The Drain At The Bottom’ with an abstract sense of social misery, made more intriguing with sound seepage behind the clever words, then the music asserts control, , only to flicker, turn and burn.
The lighter ‘Confessional’ contains more surreptitiously filmic lyrics, delicately pretty guitar and a subtle rhythmical seachange midway as the tone is intensified, aided by the backing vocals of Lisa Cuthbert, which is not the only time she intrudes here. (Other guests are Michael Plaster, Avi Ghosh and Candice Sanders.) The sad regret expressed through the shifty ‘Alicia Marie’ remains at arms length. The leisurely suspicions in ‘Looking Glass’ also blend with the curiously transparent sounds to get you thinking, until you snap out of it, realising you don’t actually know what it’s about. These words are traps! ‘A Fractured Gesture’ is noir without darkness, an airy twist of a thing, vocals fencing happily, the mood dour and yet the feeling is fairly mild and bouncy until the final thrust.
Need details of who is in the band at the midway point? Take various bows, Benjamin Londa (vocals/guitar/synth/prog), Nathan Hewitt (drums/synth/prog), Adam Jumper (guitar), Patrik Nilsson (bass) and Alex Virlios (synth).
‘The Paris Heights’ swarms along genteel grooves, vocals poured into place over discreet keys and patient drums. ‘Landlocked’ is an android snippet with a brisk glaze applied, then ‘Body’ thrums thoughtfully in accompaniment to a bleak lyrical stew, an orthodox farewell. ‘The Thinnest Air’ seems shy, taking an age to get going, insanely quietly, then it breaks through into mildewed vocals mulched into sentimental lyrical optimism.
‘The Door’ sees us out with more of Benjamin’s obsession with holding things tightly, and then falling away from a relationship like an astronaut whose line breaks while on a spacewalk. The bass agitates and becomes wonderfully invigorating, the song up and ready to whirl, but settling on a holding pattern of pert drama.
It’s an album to really sink in to, without the despair of the protagonist.
https://www.facebook.com/weareexit
http://www.weareexit.net/
http://weareexit.bandcamp.com/album/the-blind-alley
http://www.reverbnation.com/exitproductions