Skip to main content

Review: Separateness by Lore City

The Portland, Oregon duo Lore City are one of those groups who really sit in a unique musical place. Their use of ambient, drone and shoegaze elements, as well as a repetitive slow-building compositional style, gives their sound distinction from the atmospheric indie acts they might instinctively be compared to such as Oh Wonder, London Grammar or Beach House. They twist this sound into something utterly distinct, showing the significant and authentic influence of bands like Swans, Mogwai and Cocteau Twins.

Separateness is the opening track from their 2020 album Alchemical Task, and sets the tone superbly for the entire album; it's joyously minimalist, entrancing and ethereal. If you were to imagine a collaboration between Grimes, Chelsea Wolfe, Emma Ruth Rundle, Tim Hecker and Brian Eno you might find something in your mind that resembles Separateness. At over eight and a half minutes long it's beautifully hypnotic, stretching out subtle melodies and trembling harmonies into an exceptionally mesmerising piece.

There's a singular beat that rolls through the song; it's there, but it's also not quite there either, similar to the way drone metal act Nadja use rhythm. It's not a beat designed to move the feet, but instead to add the lightest of frameworks to the ambiguous ambience. There's a consistent yet effervescent melody that washes through the track, setting the foundation for the piano lines and synth harmonies that draw the outline. On it's own it feels like the kind of spacious sound you might imagine as background music in a Scandinavian technology museum, sound-tracking an exhibition on modular synth design.

The vocals are what really give this track it's colour. They are restrained and soft, pursuing beauty in the form of rich harmonies and clever atmospherics as opposed to solo virtuosity. They deliver a haunting and celestial nature to the song, creating dream-like expansions that pulsate through the droning synths. There's no peak or crescendo as such, but there doesn't really need to be; there is tension and release certainly, but rather than as separate dimensions of the track, they seem to play out alongside each other in a constant organic equilibrium.

As someone who revels in the drawn-out drone metal sounds of SunnO))), Earth and Boris, I felt a strong attachment to Separateness. While sonically Lore City have an unyielding clarity, there is also a density to this track that draws you in immediately like a glistening black hole. Perhaps it's the fact that, while the ambience and atmosphere of Separateness are so beautiful, at it's heart there is a joyous hook which makes this track instantly addictive. 


Listen to and purchase Lore City's music on Bandcamp

Find out more about Lore City on their website

Comments

Popular posts from this blog

Review: Apparitions by Joe Hodgson

As someone who has played guitar for close to two decades, I understand that the relationship with the instrument can run deep. There is something both beautifully elemental and wildly creative about the guitar which makes it such an endearing medium. But you don't have to be a wizard with the six strings to make amazing music, and those who do verge on the conjuring side often fall into a trap, losing the inherent soulfulness of the instrument for the sake of technical mastery and virtuosic ability. That line can be a fine one to balance on, and getting the equilibrium right is something many a musician has struggled with when putting the guitar as their centrepiece. From the shredding of Steve Vai, Joe Satriani or Tosin Abasi, to the electric blues of Albert King, Gary Moore or Buddy Guy, it can be all too easy for compositions to end up sounding like one big guitar solo. It takes the ingenuity and skill that all these artists possess to elevate guitar instrumentals into somethin

Review: At The Boiling Point by Marshall Oakman

There's something about boogie-woogie in it's modern form that is incredibly joyous. The melting pot of blues, rock n roll and r'n'b that defines the style is infectious but, certainly for those of us in the UK at least, it's rarely heard outside of Jools Holland's TV show jams. And when you do hear it, it's rarely done as well as Marshall Oakman's At The Boiling Point, an instantly catchy and remarkably well composed track that hits every mark a great modern boogie-woogie track should. Marshall Oakman may not be a familiar name, but over his extensive career the New York based musician has forged an impressive path not only as a talented songwriter but also a tremendous performer, with a strong reputation across the Eastern US. For his latest single he has enlisted the help of fellow New Yorkers Kasim Sulton on bass, Liberty DeVitto on drums and Paul Pesco on guitar, all of whom come with fantastic experience and provide skilful playing on the track. At

Interview: Eneko Artola

In a relatively short time Eneko Artola has gone from an unknown figure with a passion for music to one of the most notable new producers in house and music today. His background is fascinating, and his rise is one that seems to be nowhere near it's peak yet. His music combines the kind of soulful, vocal-led house music popularised a few years ago by the likes of Duke Dumont, Disclosure and Swedish House Mafia, and through the latter half of the 2010s has developed into the Electro-Chill and Tropical House scenes. Eneko puts a distinctive French twist into his sound though, reminiscent of some of the French House artists like Cassius or Justice, and it's a sound which has helped him gain some remarkable traction in such a short time. Based in London, the 20 year old originally hails from the French area of the Basque Country; but his travels have taken him beyond Europe, spending time in Canada and China before coming to the UK. In the first part of this interview we talked abo