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If you’re in need of evidence for the old adage, “good things come to those who wait,” then look no further than “Aurora Borealis,” the latest offering from The Veldt. This track, the second sonic gem plucked from the long-dormant debut album “Illuminated 1989,” has patiently bided its time for a staggering 34 years, yearning for its moment in the sun.
In a harmonious fusion of seemingly opposing forces, The Veldt’s sound melds the soulful resonance of someone like Marvin Gaye with the ethereal sheen of Cocteau Twins. Opposites, perhaps, but very attractive ones. Not only were The Veldt pioneers in what would later be tagged as shoegaze—a term that carries a somewhat dismissive tone—but they also carved out their own distinct niche within it. Given the undeniable influence of the aforementioned Cocteau Twins (who, it should be noted, are not actually twins), it feels serendipitous that The Veldt (who actually are twins) have the enchanting vocal presence of Elizabeth Fraser gracing their ranks for this outing.
“Aurora Borealis” lives up to every inch of expectation. It’s that unmistakable blend of structure and glistening dreamscapes, a soulful core adorned with post-punk chimes—a song that gracefully oscillates between subtlety and anthemic grandeur.
The only query that lingers long is this: Given how impeccably this tune chimes (pun intended) with the year of its inception, why on earth did Capital Records deem it fit to gather dust in the vaults for so long in the first place? Do they not have ears?
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The Everlasting Gobstopper
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