Copilots, from Mission, British Columbia, in Canada is the gloom-rock quintet of Skye Brooks (Vocals / Guitar), Pete Schmitt (Bass / Vocals), Cole Schmidt (Guitar), Karma Sohn (Keyboards / Vocals) and Dylan Smith (Drums).
Underpinning the material of Copilots is a brooding darkness which the synths spread around the room like decaying moss, to which the two guitars provide an Épée Coulé, as all twelve strings feint across each other. The bass and percussion further enhance this mood of melancholia keeping point score as the vocal floats gracefully like a bird of prey scanning the ground – wings stretched on a thermal.
This is not music to take out of the box at a twenty-first birthday party, rather to bring out on a damp, misty pre-dawn with plenty of time to spare to sink in to the cloisters of Copilots. Having been around a few years now the quintet are able to seamlessly thread their ideas and instrumentation to afford the audience with impressively delivered compositions that evoke of emotion and sadness, without ever becoming introspective self-communication.
If you enjoy music with an oppressive cloak, Copilots are well worth taking time to spend to get to know, if you don’t – then you may well find you do after giving their music an airing.
The Marital a doom-rock band from Long Beach, California, in the USA is the quintet of Kevin Martin (Vocals / Guitar / Piano), Henry Hollaway (Bass), Nick Diamantides (Drums), Dan Hernandez (Synth / Keys) and Eddie Espinoza (Guitar).
Still evolving their sounds with the addition of players The Marital have a melancholic resonance to the material that threads its way into the marrow as a baritone vocal features –
spearheading the charge like a standard bearer, to which a percussion fires like a machine gun attack on the wings as the bass thrusts through centre ground and guitars add the pall of armament. Subtle synths and keys give the smoke cover for the foreboding presence that rumbles into the ears with the force of a charging cavalcade.
This is so far from mental images of California and it easy to imagine The Marital rumble out of Dresden in the ’80s with the boiling magma of the oppressed which cloaks the listener in menacing gloom, as the music forebodingly marches across the room in serried ranks of stanchion laying.
Whilst no extant material is available to share of the full five piece, the concepts lay within their LP Bold Show which is available on bandcamp.
Remora is the industrial-rock group from Sanford, North Carolina, in the USA centred around Brian John Mitchell.
Those of longer stay will recognize Brian Mitchell as being the owner of Silber Media who often send through bands that are reviewed very frequently, so it is somehow appropriate to take a listen to his own material.
The growling thread of sound shudders through the bones as though a dark raven is descending as a jack-hammer of bass pedal hammers through the room, to which guitars adds squeals of tortuous excoriation as Remora deliver music which thunders of malcontent and a mesmeric vocal metronomes its way through the ears. This is music that needs to be played as loudly as the speakers will allow with full sub-woofer bass boost – but you just knew I was going to advise that…
A new Remora LP surfaced at the end of last month, the live album – Swash, which I recommend adding to the playlist. If this isn’t your cup of tea, I would think that this is perhaps not the right website for you to be reading as, has already been mentioned, music from Silber Media emails regularly surface.
The Lovely Intangibles is a gauze-gaze project from Rochester, New York in the USA comprising Mary Ognibene, Stephen Masucci, Michael Williams and Tony Mann.
The Lovely Intangibles – Tomorrow Is Never – artwork
Those of more quizzical mind will recall Masucci and Mann from a review back in 2012 – The Lost Patrol still exists. The Lovely Intangibles is a collaboration betwixt members of two different bands, with the additional appearance of Jon Camp (bass) from a further band and one I hope continues, with further time spent working together.
The music filtrates its way into the room sheathed in gossamer threads of silk as the sounds wrap the listener in echoing shimmers of darkly spaced guitar, from which bass and percussion emerge mesmerically as the vocal features akin to a Brocken spectre floats above the translucent backdrop – and to round out the immersive quality of the material a minimalist synth adds touches of elongated shadows.
The Lovely Intangibles deliver compositions to be drunk in large quantities allowing the intoxicating effects of the tracks to merge one in to the other taking the mind on an out of body journey.
A début LP – Tomorrow Is Never is set for imminent release.
Fort Lean from New York in the USA is the alt-rock quintet of Jake Aron, Zach Fried, Keenan Mitchell, Will Runge and Sam Ubl.
Equally able to compose tracks of fulminating temper and considered thought, Fort Lean is a band who have much to offer an audience. There is an inclusive sound to the material which scores across the room as the players give each other the space to develop their themes, resulting in music which has an orchestrated feel, though despite this, doesn’t leave listener feeling they have been soft-soaped.
I get the sense that this is a band best seen live as although there is much to garner from recorded pieces, they do sound as though someone has spent considerable time glass-papering the edges and it won’t be until October the 2nd that their début LP – Quiet Day will be released – four years after they started.
Whilst the live material just makes you want to rip away the surroundings, the Mastered tracks have you reaching for a duster and furniture polish, which is a shame as inside it all Fort Lean have much to offer the world of music, if only their Management Team stopped advising them so badly.
From the forthcoming album a live version of New Hobbies.