The English indie-rock quartet Echolines are working towards the release of the LP Breathe in October.
Echolines – Photo credit – Jordan Harris
Like an unreleased coiled-spring the music surges out of the music in flashing percussion and guitar with the sounds bursting through the room. Though the material is intensely packed Echolines do not use the impetus to fire up the volume rather use bass to keep tight rein on the compositions allowing them to develop the themes of the songs with the topping of a well measured vocal providing the audience with a soundtrack that holds attention.
From the forthcoming LP Ratherhaveu was released as a standalone single yesterday.
The Blackheart Orchestra – Diving For Roses – artwork
The mystical – approaching fifty five minutes, dozen track album, Diving For Roses is best enjoyed in quiet company to allow the washes of scintillating instrumentation to drift around the room as the singular vocals, akin to a sprite dancing on flower-tips, captivates the mind.
The Blackheart Orchestra are able to pipette sufficient melancholia to the material to quiver the lips whilst simultaneously embracing the listener in comforting arms allowing the audience rest tearful head on soft pillow and finding solace in the ethereal sadness as the duo demonstrate both skilled composition and sympathetic delivery as they translate their ideas in to an LP that is well worth adding to the collection.
My pick of the release is the penultimate number – Breathe – in which The Blackheart Orchestra are most deft in relaying the context of Diving For Roses as the duo deploy a broad range of instrumentation, each of, which ideally suit the three chapters of the just under the six and almost a quarter minutes of the piece that, to me, is their finest orchestration thus far.
An opening panting breath lays across the expressive vocal, surrounded by piano / synth delivering a misty backdrop, prior to introducing an intensity of Spanish Guitar that captures the mood before gradually evolving to bowed strings that reflects of the emotional turmoil being played out in the composition concluding with the third element of the track which has a more pugnacious underpin of electric guitar that invites the listener to come up from the submersion to breathe air, rested rather than wracked.
Voodoo And The Crypts – photo credit Backwater Channels Photography
… in that time their sound has shifted significantly with a far lighter taper to the output. They seem far more confident in their ability to bring it all together and consequentially allow each element more space in which to play their part and explore ideas of their own within the context of the track, giving their out-put greater flexibility and resilience.
A couple of tracks have surfaced recently – each distinctive in emphasis – one the mid-tempo flowing Breathe – the other – 1934 is more sprightly and the track that is featured.
Glistening guitar struts like an oiled torso parading on the beach whilst thumping bass swaggers its punches as the percussion skips around the room as though the compère whilst vocal, rather than standing pivotal, flows naturally within the textures Voodoo And The Crypts unleash through the speakers.
Having had the fortune of hearing their eponymous EP set for release in September I can attest to the proficiency and sumptuous nature of the compositions and I will get round to a full band review in short order.
For now the track three on the just under twenty minute release is – Breathe.
Recently starting on the live circuit, Fractions is a quintet I am sure you will come to know far better in the very short term.