I have been enjoying the self titled release from Slow to Wake for
the last several weeks. The band is from Brooklyn NY and it shows.
EJ Fry and Christopher Hoffman are joined by Don Chase, Rob Woodcock,
Skye Steele, Shane Rettig, Nick Burcher to bring an incredibly rich
mix of instrumental rock and free form jazz. Strings and mallets
play a big part in the compositions, most notable is the prominent
use of cello.
There is an almost operatic feel to this release — but don't
let that scare anyone off. What I mean by that is that the compositions
are big and grand with lots of dynamics and do not conform to any
kind of set pop structure. Sure, that can be said of most jazz pieces
but Slow to Wake gives us much more. The opening song, "Eol"
is very big and dramatic. A slow electronic start that weaves between
the left and right speakers gives way to a strong drum and bass
line that is accented with a smooth cello melody line that rises
to a wonderfully, screechy crescendo. The syncopated break comes
next with a very symphonic and dissonant build complete with strings
and horns.
The drumming and bass on this album is first rate and the interplay
between the rhythm section and the guitar and strings is amazing.
I also really like the way the band blends electronic and organic
instruments together. They are clearly using some very phat analog
synths — at least it sounds that way to me. The only thing
that I would like to hear on this record is perhaps some vocals
along the lines of maybe Massive Attack.
–Chris Walcott fakescience.com
fakescience.com
Many of us are so jaded these days that we begin
to assume that bands we've never heard of are not worth a listen.
Thanks to the blessing/curse of affordable digital recording equipment
and distribution via the internet, massive amounts of terrible music
gets created and distributed. I'm sure anyone with MySpace can attest
to how many god-awful bands are out there.
Slow to Wake, however, is one of the few unsigned, obscure bands
who completely blew me away. Their self-titled, self-released debut
is the strongest debut of the year, as well as one of the most solid
all around. They manage to be unique and groundbreaking, while also
evoking a sort of nostalgia, for despite their sometimes experimental
arrangements and noisy parts, one can't help but smile at hearing
their use of traditional film score tropes. I almost expect this
record to play along with the Wizard of Oz (or some contemporary
equivalent). Seamlessly mixing cello, violin, upright bass, drums
and horns, with various keyboards, synths, and electronic manipulations
and samples, Slow to Wake sound unlike anyone else out there, but
are likely to appeal to fans of GY!BE, Tortoise, Rachel's, and Boards
of Canada.
Self-described as "electronic acoustic chamber digital bit
redux film score post-rock organic harsh pretty ethereal,"
Slow to Wake surprisingly fit the description quite nicely. The
various instruments come and go, establishing solid grooves, crashing
together, pulling part, and often working together in a way that
one is used to hearing in only classical music or in film scoring.
These compositions truly stand out, however, because unlike in most
post-rock, in which a violin is used to supplement standard electric
guitar noise, the strings here comprise the core of the group. Although
Slow to Wake make excellent use of samples, electronics, moogs,
bongos, and other percussive elements, they are at their center
violin, cello, bass, and drums. The listener is instantly struck
by how successful this combination is, flawlessly transitioning
between styles. I wouldn't be surprised to see this group quickly
rise to the forefront, although they are just as likely to be playing
classical music or scoring film than pursuing the traditional rock
path.
From what I can hear, all musicians involved are serious players,
and likely professionally trained. We often hear about the influence
that free jazz and avant-garde composers have on bands, but this
usually means that someone has heard Orenette Coleman and thinks
that not knowing how to play there instrument can be turned into
a virtue. When Slow to Wake cite a free jazz influence, particularly
on their cellist's playing, I can hear this influence as authentically
as I can hear their debt to Aphex Twin and Tortoise. Based in Brooklyn,
I cannot wait to see these guys live, and I greatly anticipate their
next release.
-Joseph Sannicandro
thesilentballet.com
It is rare to encounter these days a group who takes a musical direction
outside of the established mold. This is certainly especially true
when we speak of post-rock, a form of music that is "tormented
by existential crises." For many devotees of this kind of music,
this niche has little new to offer, since it is chained to a rigid
pattern that doesn't leave room for the evolution of that sound.
However, after hearing this cd, I find that things have changed.
So, it was a big pleasure to discover a group that is capable of
making music that is intellectually stimulating. A group like Slow
to Wake, a quintet from Brooklyn, can also make an album which is
difficult to listen to for those who are not initiated to this form
of instrumental music.
Mixing classical and electronic instruments, they paint nine abstract
pictures, characterized by a pronounced dynamic. We find ourselves
in front of instrumental rock with a soul that is clearly jazz,
where repeatedly the structured sounds gently touch the improvisation,
which is well sustained by the talent of the musicians. Its complexity
makes for a cd that is edgy and obscure, shaped by the intensity
of the violin and cello. The choice of these two instruments is
particularly pleasing, intertwining a dose of drama to the fleeting
melodies.
The debut of Slow to Wake may pass unobserved by some but will give
great pleasure to those who will let themselves be tempted by a
most original proposition.
This is for lovers of new sounds.
-Alessandro Bonett
Kronic (website)
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