Autumn Owls
The chaps over at Prescription PR let us know about Autumn Owls recently, a Dublin based unit who are releasing their debut album, Between Buildings, Toward The Sea, on the 16th of October. Seeing as we were given the chance to check out the album before the release date, I thought the best way forwards was to check it out, play it loud, and see what was going on.
As Semaphores kicks things off for us we’re transported to a deep and dark place, a place where synth sounds combine with drums to fill your ear drums and engulf you in a sense of reflective calm. The opening moments of this album don’t give a lot away other than a sense that this is a band who are more complex than you might first think, the sound seeming to grow around you as the track builds and forms into something which combines electronic approaches with atmospheric sounds, resulting in a sound which is big, full, deep and powerful. Trying to put this in a genre is nigh on impossible, the sound is too complex to pigeon hole, offering up snippets of indie style rock as well as atmospheric calm and ‘out there’ approaches, it’s a sound that works even if it’s one which doesn’t immediately make sense!
Unconvinced helps to level things out a little, this time presenting an approach which is more indie rock-centric, but still combines all of the different elements which made the first track so powerful. The complexity of this track adds in a sense of syncopated progression, the music continuing to push the boundaries of what should be possible and showing that Autumn Owls are a band who are out to change our perspective on the world. Spider and Spare Room both continue this approach, the latter track coming as a more folk orientated melee of acoustic guitar lines and emotionally laden vocals, but still not giving away exactly who these guys are and what we should expect from them in general terms. Kiss The Wine sort of makes things a little clearer, this time showing off the emotional edge of the band once again and offering up a track which stands out as a serious high. I’ve listened to this track over and over again and I know it reminds me of someone, but I can’t work out who it is despite all of my thinking – suffice to say there’s a sense of familiarity running through this track, the sort of thing which will help you to connect with the band and get you wanting more from them.
Quarantine, Great Atlantic Drift and Arched Pines all continue to push the boundaries of the album, each track offering up its own take on the music, sounding like 90’s style indie at some moments, and modern atmospheric and progressive style stuff at other moments, but another high point is soon presented in the form of Patterns. Opening with a feedback line before ushering in a real sense of bass heavy melody, this one presents a more conventional take on the bands style and leads us into a track which is sure to become something pretty damned special to witness on the live front. Calm and collected throughout, this track is one which needs to be played loud to fully appreciate the depth, it’s another moment which sets these guys apart from the conventional side of music that we all think we know. Byways of the Lifeless and All The Lights In New York both lead us through to the final moments of the album in the form of Borrowed Suit, closing the album much as it began with their unique approach to doing things. I keep thinking of Portishead as I listen to this album, and the closing moments are no different in my head, finishing on a track which will pull you in, make you listen, and leave you knowing that you’ve just witnessed something pretty damned special.
I still don’t quite know where to put Autumn Owls, they’re one of those bands that have got their own style and don’t fit into a genre of any sort. I guess they could be compared to Sigur Ros in some ways, and Portishead in others, but there’s more to it than that. Throughout this album I found myself sitting back and just listening, just taking it all in and feeling the vibes of the tracks – and to me, any album that can force you to listen from start to finish without a break has to be a damned good one!
To find out more about Autumn Owls, check out their Facebook page HERE.
Words: Dave Nicholls
As Semaphores kicks things off for us we’re transported to a deep and dark place, a place where synth sounds combine with drums to fill your ear drums and engulf you in a sense of reflective calm. The opening moments of this album don’t give a lot away other than a sense that this is a band who are more complex than you might first think, the sound seeming to grow around you as the track builds and forms into something which combines electronic approaches with atmospheric sounds, resulting in a sound which is big, full, deep and powerful. Trying to put this in a genre is nigh on impossible, the sound is too complex to pigeon hole, offering up snippets of indie style rock as well as atmospheric calm and ‘out there’ approaches, it’s a sound that works even if it’s one which doesn’t immediately make sense!
Unconvinced helps to level things out a little, this time presenting an approach which is more indie rock-centric, but still combines all of the different elements which made the first track so powerful. The complexity of this track adds in a sense of syncopated progression, the music continuing to push the boundaries of what should be possible and showing that Autumn Owls are a band who are out to change our perspective on the world. Spider and Spare Room both continue this approach, the latter track coming as a more folk orientated melee of acoustic guitar lines and emotionally laden vocals, but still not giving away exactly who these guys are and what we should expect from them in general terms. Kiss The Wine sort of makes things a little clearer, this time showing off the emotional edge of the band once again and offering up a track which stands out as a serious high. I’ve listened to this track over and over again and I know it reminds me of someone, but I can’t work out who it is despite all of my thinking – suffice to say there’s a sense of familiarity running through this track, the sort of thing which will help you to connect with the band and get you wanting more from them.
Quarantine, Great Atlantic Drift and Arched Pines all continue to push the boundaries of the album, each track offering up its own take on the music, sounding like 90’s style indie at some moments, and modern atmospheric and progressive style stuff at other moments, but another high point is soon presented in the form of Patterns. Opening with a feedback line before ushering in a real sense of bass heavy melody, this one presents a more conventional take on the bands style and leads us into a track which is sure to become something pretty damned special to witness on the live front. Calm and collected throughout, this track is one which needs to be played loud to fully appreciate the depth, it’s another moment which sets these guys apart from the conventional side of music that we all think we know. Byways of the Lifeless and All The Lights In New York both lead us through to the final moments of the album in the form of Borrowed Suit, closing the album much as it began with their unique approach to doing things. I keep thinking of Portishead as I listen to this album, and the closing moments are no different in my head, finishing on a track which will pull you in, make you listen, and leave you knowing that you’ve just witnessed something pretty damned special.
I still don’t quite know where to put Autumn Owls, they’re one of those bands that have got their own style and don’t fit into a genre of any sort. I guess they could be compared to Sigur Ros in some ways, and Portishead in others, but there’s more to it than that. Throughout this album I found myself sitting back and just listening, just taking it all in and feeling the vibes of the tracks – and to me, any album that can force you to listen from start to finish without a break has to be a damned good one!
To find out more about Autumn Owls, check out their Facebook page HERE.
Words: Dave Nicholls