There is something to be said for a band that, in a world obsessed with perfection, polish, and over-production, is happy to put out songs that are still in their formative stage, demos, essentially, music made as it happened, natural, raw, and authentic. We are often presented with the finished article; this is the sound of a work in progress, and a courageous and vulnerable stance.
And if that introduction sounds as if it is there to caveat the quality of the songs, nothing could be further from the truth, as the five songs presented here are great. These fragments are five swathes of drifting, deft, occasionally delicate, and devastatingly beautiful music that wander between the raw walls of sound that define shoegaze and the more accessible and elegant dream-pop vibe.
“Eurydice” is a mid paced, swirl of sonics and coiled, shimmering guitars, and “Lily Use My Hand” is a lushious slowburn that runs between billows of dreamscape sound and abrassive musical squalls, and there is something about the lyrical delivery, especially in the chorus that reminds me of one Stephen Patrick Morrissey. Which is both great and slightly disarming.
“Dry Eyes” employs a half-heard beat that creates plenty of energy. There is something of the early Cure about it, again, not the usual reference point for music made in such realms, but I guess that again shows you how different this all is.
“Sun and His Shade” begins in psychedelic folk-pop territory and ends in sky-searing anthems, whereas “Tower in my Garden” starts in a similar place but is content to stay there.
It’s an interesting set of songs. The earlier tracks feel close to their final form, and the last two in particular, perhaps, are more sketches to be cloaked in more adventurous sounds at a later date…or not.
As I say, most bands take the safe route and only let people hear their music once it has been polished to perfection, but there is something extraordinary and attractive about a band willing to do their growing up in public.
