Here are this week's highlighted releases, representing a brief synopsis of important albums released in the summer months. Ultimately, despite the relative lack of hype surrounding each release, these albums are likely candidates to end up on many worthy end-of-year lists, Neosurrealist's included. Music samples from each artist will be updated within the week on the Neosurrealist Playlist; for now, songs can be heard from the respective myspace pages.
A Place to Bury Strangers- S/T (Killer Pimp)Containing seven tracks from the band's unreleased CD-R demo and three brand new songs, A Place to Bury Strangers' debut marks the starting point of what is sure to become a new trend in the post-shoegaze revival. Mixing traces of post-punk with rapid drum machine beats and classic shoegaze noise, A Place to Bury Strangers earn their title as "New York's loudest band," and then some. An essential 2007 album for any true shoegaze fan.
Alcest- Souvenirs d'un autre Monde (Profound Lore)An intriguing hybrid album coming from Avignon, France. Admittedly more shoegaze than metal, Souvenirs d'un autre Monde nonetheless skillfully integrates elements of Alcest's heavier past with a dreamier, more elegant sound. Whatever your opinion of its classification, this album remains one of the standout full-lengths of the year.
To give you an indication on the type of music Capguns makes, the North Wales quintet cite Cult of Luna, My Bloody Valentine, and Sigur Ros as primary influences. Their debut EP runs thirty minutes in length while containing only four tracks, comprised of titles such as "Drawn to the Horizon" and "Like Waves." However, the music on Day is anything but cliche, melding equal parts post-rock and scream-infused metal in presenting an excellent self-introduction.
Genaro- Genaro (Benbecula)From electronica heavyweights Benbecula Records comes the debut album from Scottish shoegaze-pop quartet Genaro. Dark textures and melodies rise to the front here, and while Genaro does occaisionally utilize reverb and distortion, such techniques are often nothing more than restrained support for Craig Snape's rich vocal range. While 2007 has seen many debut releases indicating a promising future, Genaro marks the arrival of a legitimate post-pop powerhouse.
Holler, Wild Rose!- Our Little Hymnal (Backlight)Our Little Hymnal might be the single most difficult 2007 record to describe, primarily because of the broad range of influences that the band draws from and seemlessly integrates into their sound. The end result, however, is a succesful product of psychedelia, post-rock, and more conventional rock structures; rather than sounding muddied or forced, Our Little Hymnal represents a sound unique in itself. If pressed, Holler, Wild Rose could be compared to something like Jeff Buckley fronting a neo-psychedelic/shoegaze band covering Sigur Ros' Agaetis Byrjun.
Microtron picks up where 2004's Transistor left off, merging dynamic and jazz-like structures with moments of post-metal brutality. The contrast here is unaided by crescendos, and instead Pozvakowski opts for sudden rythmic pulses and the occasional use of voice samples to provide engaging compositions. Microtron is a bit more accessible than previous releases from Pozvakowski, and therefore should act to introduce the band to post-rock fans outside of their native country of Hungary.
Sleepy Eyes of Death- Streetlights for a Ribcage (Self-Released)On Steetlights for a Ribcage, Seattle-based Sleepy Eyes of Death craft a legitimate post-rock/ shoegaze crossover album laden with synths and electronics. Although the debut album's sound ranges from the dense and cinematic to more down-tempo, restrained compositions, the band maintain an original and unique take on electronic music. Without a minute of wasted effect, Streetlights for a Ribcage represents one of the better surprises of the summer, as well as an ultimate synth-heavy soundtrack to the arrival of fall.
Wang-Wen- Seven Objects in Another Infinite Space (Fox Tail)From the unlikely source of Dalian China comes the surprise album of the summer, and possibly the year. Melding angular post-rock moments with a noisy, textural sound akin to earlier Mono, Wang-Wen embrace the traditional crescendo-heavy epic compositions of post-rock's past and integrate melodies composed in traditional Chinese scale. On Seven Objects in Another Infinite Space, the band's third studio release, Wang-Wen prove that, even in 2007, the traditional mode of post-rock can triumph if executed correctly. Wang-Wen have produced a gem of an album, sure to introduce themselves and other Chinese post-rock artists to the rest of the world.
