“A Future Remembered” is a new thought-provoking release by A Signal In The Static.
The project is the brainchild of Steven K. Smith, a talented and dedicated composer formerly known as the founding member of Mabou, a well-received dark ambient act. On this new musical adventure, Steven set out to create a tantalizing atmosphere with a stunning textural vibe.
A Future Remembered strikes with blankets of noise cutting through the air. Melodies swiftly overtake the layers of fuzzy, white noise and become more intelligible, paving the way for some beautiful guitar lines. The rhythm section is uncomplicated and refreshingly minimalistic, offering a backbone to the melodies, without ever overpowering the sonic aesthetics of this particular release.
The album is built on a lush and haunting layers of drones and textures, alternating atonal dissonances with compelling melodies. The sound makes me think of the work of artists as diverse as This Will Destroy You, Mogwai or Godspeed You! Black Emperor or Maserati, just to mention a few.
The record’s production is also worth being mentioned. The sound is understated and direct with a very organic quality to it. The album’s playlist extends throughout 10 tracks that stretch the album’s sound towards different directions - from the depth of post-rock to the cinematic atmospheres of ambient music and the experimental edge of electronica.
“Enemies from Orion” is perhaps one of my favorite songs on this release. The track begins with a brooding atmosphere, as the drones of noise and grime get consistently louder, leading up to an edgy drum and bass groove, making its way through the static.
“A Future Remembered” lives somewhere in that space where noise becomes melodies and melodies turn to noise, going for a stunning sequence of forward-thinking musical metamorphosis and transformational ideas that transcend the usual canons of post-rock, aiming for a more personal and experimental sound.
The songs on this album flow seamlessly like an engaging playlist, but they also stand out on their own, as every single track showcases a remarkable identity.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.