Posted onNovember 24, 2014
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Following on the heels of their recent single, ‘Ruseman’s Lightning +5’ We Came From The North is really stepping up their game with a new EP titled ‘Low Sun, Long Shadow’. Everything I thought was the weakest parts of ‘From Which All Things Depend’ have all been strengthened and refined. The single was definitely a good indicator of their skill progression, but this lovely little EP takes it even further.
The flow from one song to another is much smoother than before. It really feel like a conceptual EP rather than a compilation of stand-alone pieces. The sounds just go hand in hand with the feelings of a warm sunset. The imagery is absolutely perfect. ‘From Which All Things Depend’ definitely had a dramatic sense to it all, but this takes it to the next level without overdoing it. It’s dramatic without being pretentious, if that makes any sense.
The musicians have all blossomed as a group, making the compositions much deeper in layers, and more complex syncopations. The ambience is fleshed out, and the walls of sound are thicker. The musicians have all improved individually, too. The bassist really sticks out much more than before, with bigger bass lines, and more pronounced tones. ‘Secret Pinata Party’ would be the best example for both the bassist and best example for a song title. The drums sound more professional, and the cymbal control’s much more precise. The guitars bounce off each other much better than before, and it really makes the sound better, overall. This EP is better in literally every single way. Even the production quality seems to be improved. It’s quiet when it’s supposed to be quiet, and it’s loud when it’s supposed to be loud. You will not regret downloading the FLAC files on bandcamp. (While you’re at it, download all their other FLAC folders, too.)
I would describe this EP the same way I would describe a sunset. Warm, inviting, and calming. I played this for one of my co-workers a few days after receiving it, and he said it’s so serene and soothing. This, coming from someone who says Macklemore is one of the greatest musicians (he was very specific about ‘musician’ and not ‘lyricist’) of our time. That’s just how strongly this EP evokes emotions. This is a very strong contender for EP of the year, in my opinion.
And it’s released today, so get on it! Support this band anyway you can, your money will go towards some fine young men who love music as much as you do, if not more.
Maybe it’s just a coincidence, but I’ve been hearing a lot more electronica influences after Mogwai released “Rave Tapes”. Sleepmakeswaves’ “Love of Cartography” comes first to mind, but there are many others I heard while mucking about in newly submitted singles and albums on bandcamp. Some of them didn’t really make the electronic sounds feel at home with the other instruments, while others just didn’t really use them outside of their quieter passages, which is only using half of its potential, in my opinion. But there are others still who seem to have a firm grasp on what the electronic instruments are capable of, and utilize them effeciently. To Destroy A City is a prime example of these bands.
To Destroy A City’s second album in nearly four years, ‘Sunless’ reminds me of older 65daysofstatic music, with its glitchy backgrounds, haunting ambient guitars and drums, both digital and tangible. Also like 65daysofstatic, it never gets me pumped up, it always leaves me feeling serene and calm. Even when it’s thrashing and violent, it never tempts me to press down on the gas when I’m driving. I’ve actually stopped listening to ‘Sunless’ in the car because I end up driving too slowly. It’s just that calming.
Once I stopped listening to ‘Sunless’ in my car, and gave it a listen on a proper sound system, I discovered something alarming: The low end is surprisingly bare. The balancing between highs and lows is disturbingly, well, unbalanced. The only way I could tell there was any bass at all was when I had my fingers inside my subwoofer. A major disappointment concerning the production of this album. Even in a trio the bass can maintain a solid presence, and this particular trio failed.
Don’t get me wrong, I still enjoy this album immensely when I’m not listening with a critical ear. I find myself humming tunes from ‘Sunless’ and and I nod my head just as enthusiastically during the album, but I can’t take this album too seriously, or I end up disappointed with it.
To be honest, I can’t see myself listening to this very often, if at all. It’s missing a crucial part of any piece of music (except pieces like solo violin and the like) and I can’t get over it. I can sometimes ignore it, but I’ll never truly forget about it. But if you find yourself enjoying it, by all means enjoy it. Don’t let my inability to ignore flaws get in the way of your happiness. If you buy the physical album, be quick to grab the coloured vinyl. I mean, just look at those discs.
This album will be out Tuesday, November 18th via n5MD records.