The sophomore release from the ensemble WRENS operates as a deliberate dive into the more shadowed corners of reactive improvisation. Eschewing the typical anxiety associated with second albums, the quartet (comprised of Ryan Easter, Elias Stemeseder, Lester St. Louis, and Jason Nazary), embraces a philosophy of sinister playfulness. Recorded by Lily Wen at Figure 8 in Brooklyn, the record feels less like a studio product and more like a captured conversation between four distinct dialects, each comfortable with the others’ idiosyncrasies and equally ready to subvert them.
The opening “INTRO” serves as a portal into this world of clever noise-making, where the sanctity of honesty is prioritized over polished resolution. There is an immediate sense that these musicians are not interested in escapism; instead, they lean into a feverish dissonance that feels entirely grounded in the human experience. As the record moves into “SNAKE”, the interplay between Easter’s words & trumpet and St. Louis’s cello creates a slithering, unpredictable movement. The electronics and synths, handled by both Nazary and Stemeseder, wrap around the acoustic elements like a thickening atmosphere, blurring the line between the organic and the synthesized.
A defining characteristic of this sonic architecture is the specific textural contrast provided by Stemeseder’s use of the una corda piano. By shifting the hammers to strike fewer strings, the instrument produces a muted, veiled resonance that feels strangely detached from the physical room. This soft, felted timbre creates a fascinating friction against the electronic manipulation of Lester’s cello. While the cello is often stretched, distorted, or granularly processed into aggressive shapes, the una corda piano remains the fragile, acoustic heartbeat that underscores the record’s more menacing impulses.
In “DOUBLE DOUBLE”, this rhythmic elasticity feels both reckless and controlled. Nazary’s drumming provides a skeletal framework that is constantly reshaped by the piano’s intimate quality. This leads into “CRAYOLA”, where the band’s penchant for boastful nuance is most apparent. The sonic architecture is matted and complex, yet there is a perceptible sense of wonder beneath the layers of distortion. The “INTERLUDE” provides a brief moment of suspended animation, a quiet pocket of air before the record descends back into its darker textures.
“CHARLIE PARKER” stands as a testament to the group’s ability to engage with tradition by essentially dismantling it. Easter’s voice and words inject a human vulnerability into the mix, contrasting with the mechanical whir of the electronics. It is followed by “LONGBOW,” a track that emphasizes the group’s comfort with the wretched. The cello and trumpet engage in a duel that feels ancient, even as the synthesizers ground the piece in a distinctly modern malaise.
As the album reaches “COUNTDOWN TO IT,” the momentum becomes more focused and aggressive. The mixing and editing by Nazary ensure that every sharp frequency and low-end vibration carries significant weight, highlighting the triumphant, albeit crooked, spirit of the performance. The final “OUTRO” leaves the listener in a state of meditative solace, a reminder that within this landscape of darkness, there is a persistent, defiant giggle. ‘Half of What You See’ is a work that refuses to hide from the ugliness of the present, finding instead a strange, cherished beauty within its own discordant tunnels.
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